Stella Solo Final

Attached below is my final Jazz Composition, created based on the chords of the renowned Stella by Starlight tune.

*Note that the composition is to be played in the swing rhythm (this is because the version of Finale that I have does not allow this when being played)

FionaChan9G_Final Stella by Starlight

After completing the ternary composition, we transitioned into composing Jazz.Comparatively, I think this task was much more difficult to do than the previous one, probably because I’ve had more experience with classical style music than jazz? However, I believe that I did a fair job at this project, looking back at the two-week process. I will first address the points of the actual composition, then talk more about the process.

When composing this type of genre songs, true Jazz musicians will know the importance of the 7-3 resolution is. Before this unit, I’ve only ever heard about this concept but never actually understood it. Now, I understand that it’s a way of playing Jazz to highlight the changes of chords throughout the piece in between bars. In this piece, I would say that I demonstrated substantial use of guide tones. This is because I have followed all the mandatory guide tones provided in the task sheet, though I have not used this resolution in any other place. An example would be bars 1-2 and 2-3. In bar 1-2, I followed the instructions of ending the measure with D (7th of Emin7b5 chord) and starting bar 2 with C#(3rd of A7b9 chord). Yet for bar 2-3, because there were no guidelines, I chose the ending (F) and starting notes (Eb) of the corresponding bars which were not guide tones. Theoretically, this shouldn’t sound too good, as if I was just putting random notes without any reference to the chords. However, I think it is because the given guide tones were spread out in the piece, thus although the tune might sound off track at certain times, those guide tones brought the song back into track. Also, it might be because I’ve chosen to use chord tones most of the times in the song so there was a connection with the piano chords.

I had substantial use of digital patterns and chord tones throughout the piece. I wouldn’t say that I’ve used a lot of digital patterns. Though, I did keep chord tones in my mind when composing the piece, therefore I am confident in saying that my song does include mostly chord tones. For instance, in the first three bars, 5/7, 6/8 and 5/7 tones were chord tones respectively. I wasn’t paying a lot of attention in using digital patterns because I felt that the mood of my song was not suitable for them. When I tried incorporating digital patterns (1235, 1253 etc.) into the composition, it was very protruding than the other phrases of the piece. I’ve taken a little twist to this project as compared to jazz solos that are heard from famous musicians. It is seen that in this composition, there is a relatively low number of rests and the notes are constantly flowing and moving up and down the register, unlike the slow, swinging feel of other solos. The tempo of the song is set at a rather fast pace and the rhythms include all sorts of combinations. Therefore, I neglected the usage of digital patterns as I thought it would halt the feeling created in other sections of the piece. What I said above describes the digital patterns provided by the task sheet, I did generate a few arpeggios based on the chords like in bar 28 and 29, the first beat of measure 28 is four descending eighth notes (B♮, G, Ab, F) for G7b9 chord and measure 29 has the same rhythm with (Eb, C, Bb, Gb) chord Cdim7.

I think this composition has demonstrated excellent rhythmic interest. Firstly, there is a mixture of many different types of rhythm. Examples would be the repeating sets of a sixteenth, eighth, sixteenth and eighth note, the triplets, as well as sets of four eighth/sixteenth notes. I have included a wide range of rhythms in the composition, the most prominent being the two sixteenth and eighth notes, evident in bars 5, 22, 23, 25 and many more. I introduced this rhythm at the beginning of the song and reinforced it at the end by repeating it multiple times. Triplets were also used in this piece, most obvious in bar 21. The majority of the note values are eighth notes as I wanted this to be a fast-paced composition. I’ve included a small amount of syncopation which can be seen in bars 12, 20, 22, 23 etc. These were added to build on to the jazz feeling of the song due to the notes being played off the down beats. In bar 24, I marked “ad lib” on top of three sets of sixteenth notes. This was because I felt that jazz compositions should have components of improvisation so I composed this to allow the player to use his/her own interpretations of the song to deliver this phrase. I placed a decrescendo there to suggest that the dynamics should be similar to this in that bar, however it is up to the flutist who makes the ultimate decision. There isn’t a specific melody in the piece, but I guess that’s how jazz is suppose to work…? The notes range from the lowest to highest register on the flute and contain a variety of conjunct and disjunct notes. I think the overall tune of this piece is composed quite well because it doesn’t sound dull (like I thought it might be at the beginning) with many repeated notes.

Regarding the playability of the song, I think that this piece is absolutely playable with some practice. It may require a certain level of skill, however it is not too extreme. The highest note in the song is the high register D and the lowest note is the low register D. This song would probably require fast fingers as there are a few areas with sixteenth notes that are quite fast. Other than this, I believe that it shouldn’t be too hard to play. For the fast notes, I also added slurs so that the player doesn’t need to double tongue! 🙂 To facilitate the musician in conveying the song in a more particular style, I’ve indicated performance directions on the score. The piano part only has the dynamic markings “pp” as it only plays the chord so it doesn’t need to be played loudly, whereas the flute part has various articulation and dynamic markings. I didn’t include as many directions as in the ternary composition as I feel that jazz compositions should remain quite uniform throughout, therefore I mainly used slurs and at times staccato.


In this final version, I’ve made many improvements from my draft. Firstly, I’ve changed the rhythm of the first few bars from eighth and sixteenth notes to only eighth notes. In the draft, I did this because I wanted the composition to sound like it was played in a swinging style (since Finale is not capable of playing this), so I changed the value of the notes based on this. I believed doing so also made playing the piece much easier when sightreading! <– This suggestion was given by Mr. Otoole. Then, to address Mikayla’s comment of adding a more distinct melody, I took away the number of notes in each bar to make the melody of the flute less messy and more apparent. An example of this would be in bar 6 and bar 27. In response of Yubin’s comment, I added the performance directions such as dynamics and articulation to the piece for this final version. For commenter 084373, I made the rhythm of a sixteenth, eighth, sixteenth, eighth note more notable by adding slurs to it and dynamic changes to make its existence more outstanding.

I think the areas of improvement would definitely learning to incorporate more rests into the piece. I recognize the lack of rests in the composition which makes the song sound crowded/ not enough space to breath. Also, if we were going to do this project again, I would certainly consider using more longer valued notes. I would improve the current creation by trying to use more of the 7-3 resolution to make the piece flow even better.

Overall, I’ve learned a lot from this jazz unit. After all, this is probably only my second or third official experience with jazz music (the first time was at summer music camps). I can’t deny but admit that I am now comfortable in teaching others on the basic fundamentals of the genre of jazz, which I could not do prior to this project. I liked how we were given the chords and only required to compose the flute solo because if I was asked to design the chords too, I probably would not be able to complete the task. Throughout this activity, I was able to effectively use my PJ to make progress – I posted my composition on my iFolio and received feedbacks on improvements. Instead of approaching a peer in real life to ask them for comments on my creation, my blog acted as an online platform to record down constructive criticism on how to further develop. Through commenting on others’ blogs, I also saw the pros and cons of their composition and could apply it in my final version.

 

Stella Solo Draft

Attached below is the PDF to my draft version of the Stella by Starlight composition. Listen to the MP3 too from the recording bar!

FionaChan9G_Stella by Starlight

This is the draft of my Stella by Starlight jazz composition. The solo instrument is Flute with Piano as accompaniment. The tempo of this piece is not too fast, I chose this because it has many notes that have short value, so even if it is set at a slow tempo, it wouldn’t be too boring. I found that this project was a little more difficult than the first ternary composition and I propose that the reason is because jazz music normally does not have a set melody, so I cannot write the piece revolving around any specific element – most of the notes have to be devised from the chord and there wasn’t any guide lines. Feel free to listen to my draft jazz music and leave a comment down below to help me improve my composition! 🙂

Ternary Composition Final

Below is the final version of my ternary composition.

A Spring’s Tale

This is the final version of my ternary composition – A Spring’s Tale. This composition is created for the flute and piano, with an A, B, A structure. I started on an F Major and moved to its dominant key – C Major, in section B. This was because, as mentioned previously that I wanted my piece to have a joyful and lively, which I feel going to the relative minor would ruin. I always liked the tune of classical music over modern songs, because I think they express meanings more effectively, hence I took a more classical-music like approach to this composition compared to some of my peers’ pieces.

Before talking about the changes that I made to my final piece compared to my draft, I would like to comment about the process of this composition creation. I started this piece with the 8 bar composition and transformed it into this 24 bar piece. The area that I think was the most well done was not a particular part or tune, but how I used the main melody in multiple sections and made it reoccur in the piece. The melody of Section A was used as the accompaniment in Section B and became melody again in the second Section A. At the beginning, when I was first starting to transform the 8 bar melody to this composition, Mr. Otoole suggested me in making my second phrase as the melody for my Section B in the ternary composition. I thought this was a good idea, but the problem was that because the Section B could only go to either the dominant key or relative minor, if I were to change key and at the same time change the melody, my Section A and B would be too different. Therefore, I thought of the idea of using the Section A melody as part of the piano accompaniment, to reinforce the tune among the Section B, but not too prominent, so that at the same time there would be a connection between the two sections. The big difference between my 8 bar composition and this version would be the additional second phrase in Section A. This is because it is a whole new melody that I came up with according to the tune of the first phrase; it has never occurred in the previous compositions.

In this final piece, I mainly made alterations to the B section, with some articulation markings in other areas as compared to the draft. Firstly, after asking for Mr. Otoole’s opinion on my draft, he said that incorporating the staccato triplets in bar 11 and 12 (first phrase of Section B) into the second phrase would be a good idea as he thought that the mood created by the light, active notes should remain until the end of the B section. Therefore, I added triplets to the right-hand accompaniment in bar 13-15, imitating the flute melody in bar 11-12. From my previous post, many of my peer’s comments stated that the piano was overpowering at times and covered the flute. I translated the recording into an MP3 through Garage Band, which messed up the dynamics of the piece. However, I then realized that part of the problem was actually on the composition; because the piano accompaniment mostly had more than one note to play, the sound of it would be very loud even when indicated pp as compared to the single notes played by the flute. Therefore, I changed some of the places to ppp from pp, which I felt made the flute melody much more distinguishable.

Although the three sections (A, B, A) are different, they are all connected at the same time. I have used similar rhythms and melodies throughout. I would say that the melody heard in Section A was used in the entire piece, which revolved around this main idea. Although it may not have been the melody in Section B, it was the counter-melody that supported the main melody and brought out the uniqueness of the flute part. The rhythm changes were apparent in the different sections, in fact, the rhythm was a whole new story in Section B as compared to Section A. The notes transitioned from flowing sixteenth notes to triplets labeled staccatos. From here, the mood of the piece also changed from a flowing, smooth like to a vivid, lively atmosphere. Although so, the Section B still sounds connected to the first section because of the melody played by the piano. Regarding the second Section A, it can be seen that there have been changes made to it relative to the first Section A. This can be mainly identified through the last two bars of the first phrase (bar 19-20) – Sixteenth notes were used in contrast with the quarter and eighth notes in bar 3-4. Change can also be seen through bars 22-23. Instead of descending from an A to an F in bar 6-7, the notes went ascending from D to F in the second Section A. Though, the main melodies and rhythms have still been kept throughout, such as in 17-18, 21-22. In addition, the variation in the sections can also be evident through the key change – F Major to C Major to F Major. This is what I personally think, but a few of my peers addressed the fact that the melodies in Section A and B were too alike (They were Ethan, Tiffany and commenter 110075). They stated that an improvement would be making the overall piece more distinct. On the contrary, I received a comment saying that I did a good job on the contrast in the phrases from Natalie. Thus, I believe that whether the three sections were similar or not wasn’t actually based on the piece itself, but according to the preferences of each person; some people might think that the piece is too alike, but others may disagree.

The transition between sections were done very well. From the first A Section to the B Section, I used three triplets in proposing the key change. Other than this, the triplets also act as a “hint” to show the rhythms that are going to appear in the coming section. I used a B♮ in the triplet to show a key change to C Major, because of the nature of this key having no sharps of flats. I believe doing so has guided my audience through the two sections easily while introducing the new key. From the Section B to second Section A, I used a fermata to indicate a pause, which shows an end to a phrase. Then, I used an eighth note C at the last beat of bar 16 to lead to the tonic (F) of bar 17, also the start of the second Section A. Several commenters mentioned that my composition has a smooth melody (Commenter 063771 and Tiffany). This shows that I was successful in composing a song that consisted of melodious transitions between phrases.

I this piece will have to be played by players who have around 1-2 years of experience with the flute. Reasons are because it is not too hard, yet it has some parts that require special skills to be able to play. This composition doesn’t include many extreme high or low notes, it also doesn’t have too many complicated rhythms, which is what makes it easy to play. However, it is in quite a fast tempo, has places which might require double-tonguing and fast fingers, meaning that a beginner will not be able to play. Despite this, the composition is totally feasible to be played, an example would be myself, I could play this song easily without any trouble and am sure that several other flute players in my class will be able to do so. I even received a feedback (Natalie) saying that the difficulty of my piece was unique, suggesting the composition is successful regarding its playability. Regarding the piano part, I believe this can be played by beginners simply with practice. This is because there aren’t many big spans of notes or weird movements of the hand from chord to chord. No one comment on the difficulty of the piano part, therefore I infer that it was probably feasible for playing; hence it didn’t receive too much attention.

I have included a wide range of performance directions in A Spring’s Tale. This can be evident throughout the entire score, dynamics, tempo and articulation markings. I chose Allegretto, (♩=110) for my piece and decided to keep the same tempo throughout, to maintain the fast-paced, playful mood of the composition. Dynamics ranging from to ppp have been utilized for both the flute and piano part, with decrescendos and crescendos every now and then. I constantly used slurs and staccatos, as well as fermatas, turns and trills in the piece, enhancing the player’s/audience’s process of playing/listening to it.

Chords were used throughout this piece of music to help bring out the melody. I used a variety of major and minor chords to suit the chord requirements (see rubric). I was able to follow the guidelines and created cadences as suggested (ie. an imperfect cadence in bar 4). I matched corresponding chords with the melody to minimise clashing of notes, which I think was quite successful. I also did a good job on labelling the chords. This can be seen in the major chords labeled in upper case and minor chords labeled in lower case. I did not receive any feedback about my labelling of chords or cadences etc., suggesting that this was done properly in my composition.

I believe I effectively created a convincing piece of music. This can be reflected by the comments that I received. Almost everyone indicated that I have a very catching melody and that they “sounded good”. However, Michael said that at my B Section, the music sounded disorganised and that the flow was ruined by the half notes. Comparing his remark with the others, I think this was just his own thought, which might have been because he did not favor this type of composition. As a whole, many people had positive feedbacks to my composition, which signifies that I have created a convincing piece of music.

Of course, there will always be areas of improvement for a composition that a grade 9 student wrote. Personally, I think if I could add more “layers” to my piece, it would make the song sound much more resonant when heard. I think using the Section A melody as the counter melody for Section B was very effective, hence I think doing something similar will also make the piece more interesting to listen to. Other than this, I think adding more diversity into Section B will also improve the overall composition. As mentioned by a few commenters, they found that Section A and B was not distinct enough. I personally don’t really sense that the two sections were as alike as they said, however since these were my peers’ thoughts, it might really be the case. I think it would be a challenge to alter the Section B to make it more dissimilar to Section A without changing the melody, because I feel like if I took the counter melody of the right hand piano accompaniment away, the two will become very different and not sound from the same song anymore. If I were to make alterations to this Section B, I will probably attempt in making adjustments for the left hand of the piano part because I think that this will cause the least impact on the overall piece.

This unit was extremely enjoyable as we were able to run wild with our creativity and create what we wanted based on a few basic specifications. The PJ has allowed me in receiving feedbacks from my peers, which exposed me to different perspectives of my composition. I learned a lot mainly about chords and most importantly, the way to connect two voices – in this case Flute and Piano – together effectively in a piece. Not only was listening to others comment on my composition a valuable experience, listening to others’ composition and giving them feedback also allows me to see what I truly understand. Through giving comments to other composers in class, I also became aware of the aspects of composition and what makes an effective piece of music. Every time I listen to a new piece, I learn a new method of putting together rhythms and melodies to make a 24 bar song. The use of the PJ has allowed me in recording down my mistakes and successes throughout this unit, which has led me into refining my composition and perfecting it to the best I can from the most original 8 bar draft.

Ternary Composition – Draft

After completing the 8 bar melody, I transformed it into a 24 bar piece that contains three sections: A, B, A.

Before I explain the choices that I made, here is an MP3 of the piece and the PDF. Please note that the recording will not be the same as the score regarding the dynamics because when the midi. file is created from the finale file, it does not copy the dynamics from the score. Therefore, you might hear parts in the recording where the piano is overpowering the flute solo, but in reality, the flute is supposed to be louder.

A Spring’s Tale – Ternary Composition

The key that I started in was F Major, which I then moved from to its dominant – C Major in section B. I didn’t choose to use the relative minor for section B since my composition is a rather happy and lively song, which a minor key will disrupt. You will see that I did not use the same order of phrases in this ternary composition when compared to the 8 bar melody. This is because I took my second phrase in the 8 bar piece as my main melody in section B and developed a new tune for the second phrase of section A. One thing that I would like to comment on that I felt was quite successful was that I utilized the flute melody of section A as the piano accompaniment of my section B. Of course, I did not use the exact same phrasing in the accompaniment because after all, it is only the accompaniment for the flute part. Therefore, I used a similar structure of the notes and also made alterations to it. The left hand of the piano part that I originally had in the second phrase of the 8 bar composition was adjusted to suit the newly added part of the left hand piano. The main changes in the second section A were that I included much more semi-quavers, evident in bar 20-21 and bar 23.

I am sure this composition still has lots of its places that can be improved! Please leave a comment down below to help create a better version of A Spring’s Tale! Thanks!

 

 

 

 

8 Bar Melody – Final

Here is my final 8 Bar Melody.

A Spring’s Tale

So I finally decided to give my composition a title, which I called “A Spring’s Tale”, seen above. I didn’t exactly know what I was going to call my piece, but Mr. Otoole suggested that this melody reminded him of a bird song. I immediately thought of the spring time because birds usually sing the loudest and vividly during the spring, for those of you who don’t know; spring is the best season for birds to mate. I merged my own opinions too and had a general picture of the arrival of spring and birds happily singing, it was like a story is about to begin, where leaves and flowers are beginning to grow back, like the re-birth of nature.  Therefore, I decided to name my composition “A Spring’s Tale”.

The main changes in this final piece is mainly the piano accompaniment. Almost all of the comments that I got from the first draft stated that the piano was sometimes a little too loud and would be improved by making it more simple. I think the reason to this was because of the double notes in the left hand (mentioned by Mr. Otoole’s feedback). Hence, you will be able to see that the left hand of the accompaniment is now more simple, such as bars 1 and 2.

Another thing that I changed was the dynamics of the piece. This final version includes more extreme dynamics (not sure if “extreme” is the perfect word, but I can’t think of another word that would be more suitable) that goes down to pianissimo in the accompaniment part, as compared to the first version, where the lowest dynamic notation is only piano . You can see that in bar 1, I have changed the mezzopiano markings to piano markings, as well as some piano markings into pianissimo, evident in bar 4 and 5. I have also added some dynamic markings to some of the bars, to make the phrase look more connected (the first two bars had dynamics, so I thought since the third and fourth bar had similar structures, they should have the same dynamic markings too.

I have been wanting to change the fermata in bar 4, as one of the comments indicated that the fermata is held too long. However, I was not able to change the fermata length on Finale, therefore the fermata is still held the same length. Despite this, when this is played in real life, I will suggest that players don’t hold the note as long, after all, the length is not really fixed, it is to the preference of the musician.

I was not able to change the clash in bar 5 as I said I would in my previous post. I have tried alternating the chord many times yet it really did go well only with the tonic chord, which I cannot use, hence I decided to stay with this chord because the other chords sounded worse. I didn’t change the melody any further after the first change (mentioned in the previous post) because I felt that the flute part is the main melody in this song, thus it should not be altered to suit the accompaniment, a part that is meant to support the major line.

8 Bar Composition – Draft 1

Here is the draft version of my 8 bar composition melody. The key is in F major and the tempo is Quater Note = 110. Feel free to leave any comments for improvements in the future for draft 2, 3, 4…! 🙂

8 Bar Melody

During the process of this first draft, I’ve made major changes to my composition a couple of times. Firstly, the melody of the first two bars was altered to become more complex. The very first idea did not have the sixteenth notes on the second beat. The bar had a half note, spanning from the first to second beat and the eighth notes for the third and fourth beats. I made this decision because I thought it was too simple at the beginning, which would make the flutist bored when playing the melody. The second major change that I made to my composition was at bar 5. Firstly, I changed the flute melody from F A F C A F (first triplet melody) for the triplets to C F F C A F (second triplet melody); what I have now. I also changed the beat at which the second chord of this bar was played. Rather than placing it on the third beat, like all the other second chords of the other bars, I placed it on the fourth beat, with a rest on the third beat.  This was because according to the composition requirements, there cannot be two consecutive chords of the same in a bar. The first triplet melody only went well with the tonic chord, I think this might be because the triplet started on a tonic note. As a result, this violated the rule, the bar started with a tonic chord and had a tonic chord on the third & fourth beat. Changing the placement of the chord might be one of the reasons to why the second triplet melody sounded better than the first triplet melody.  I am still aware, however, of the prominent clashing sound in the current version of the composition, which will be a problem that I look into for future adjustments.

What I like about my current version of the composition is that the flute melody is very protruding from all the voices in the composition. I also enjoy bars 6-8, where the piano and flute melody sounds like they are having a conversation; the flute melody finishes the triplets and hands it over to the piano (seen in LH part).

 

Completion of the first Design Project of G9 – Reflection

Here is my final creation of my graphic novel:
Screen Shot 2016-12-13 at 10.18.48 am

I have acquired the following skills throughout this project:

  1. The skill of using Adobe Illustrator and a drawing tablet – Compared to before this project, I am now more capable of controlling the pen when using a drawing tablet. Also, I am much more familiar with the functions of Adobe Illustrator.
  2. The skill of utilizing my understanding of different graphic novel conventions to portray different situations of a written passage – To successfully complete this project, I had to understand each graphic novel convention and it’s effect towards the audience. Thus, at the end of this design activity, I am familiar with how different graphic novel conventions can have different effects towards the reader and I am certain that I will be able to implement my knowledge of this in future activities.
  3. The skills of identifying key areas in a written passage and transforming it into a graphic novel – The process of this design project has trained me to pay attention to the main points and symbols in the book Lord of the Flies to facilitate the design of the visual representation of the passage. As a result, I am now comfortable in distinguishing focal sections of a story and will know to put emphasize on this part of the narrative when reading.

This project allowed students to learn how, through technology (Adobe Illustrator), it was possible to visualise our own understanding of a passage and illustrate it out for other readers to understand the passage in depth. The process of this project: Understanding the passage, Researching for information, Designing the graphic novel etc. was an experience for us to really investigate in depth about our own passage. We were only given around half a page of text, so we could put all our energy into the few lines of words to emerge ourselves fully into the narrative and pay attention to the atmosphere, feel the mood and the situation, then re-create it visually. Of course, our access to technology facilitated the end results. If it were not because of the technology that we have access to, this project would’ve taken much longer in time. Also, the quality of the final outcome such as the color would not be as vibrant as it is now and it would not be as appealing when shown on the computer compared to a digitally created piece on the computer. There are many things in real life that are hard to be described through words. For example, the mood of a specific scenery may be only logical to the characters who are in the situation and experiencing it, it is rather hard to state the mood, because the mood is built upon the things that happen, and it really is a matter of fact on whether the reader “feels” it or not. As a result, when using visual representation, it is much easier to draw out extra components that can contribute to the mood of a scenery such as usage of onomatopoeia and close-ups on different objects to have the reader focus on a specific matter at different times, as well as imitate a feeling of the reader actually being “inside” the book, at the scenery location with the character.

I think the major challenge that I came upon during this design project was the usage of Adobe Illustrator. Because I have never used this application before, I had no idea how to function this software. This problem had created a number of obstacles in the process of graphic novel creation and caused me to often need to stop to fix them. Although I have done research in criterion A on the basic functions of this program, when I started actually creating the product, I realized I needed more than the basics. Therefore, after asking friends who were more skilled than I am in Adobe Illustrator, I was able to continue with my work. Another problem that I came upon was my drawing skills with the Wacom Tablet. The first time I used this product, I had very hard time controlling the pen, using it to draw lines and color objects. However, as time passed, I became more familiar with the relationship between the movement of the pencil on the screen (caused by the pen on the Wacom Tablet) compared to the movement of my hand. By the end of the illustration, I completed drawing each character and object in a very short amount of time, being able to focus more on other aspects of the creation rather than the actual outlines and coloring of the items in the graphic novel.

If I were to do this project again, I would absolutely keep one thing in mind: Focus more on the conventions and communicating meaning behind the illustrations, rather than the accuracy of the drawings, because our main aim here is to learn about how graphic representation can convey a written passage, not about our drawing skills. This time, I focused a lot on how accurate the lines were of the character, the proportions and the shade of color etc. I would say that these were important aspect of the graphic novel creation, but it was not necessary to go so in depth with the decisions, such as being overly picky about the shade of the beach, or the rock etc.

Overall, I think I completed this project rather successfully and am awaiting for the next upcoming design project :).