Lost In Weirdoland.

I never imagined that organizing and formatting images in Indesign would be such a learning process. This project evolved as I worked more on it. I initially thought I would have taken far too many images to convey the story, but later realized I wanted to include more images than the format would comfortably allow. I distorted sizes, cropped images, occluded some, did whatever I could to put as much information into the comic as I could. I underestimated the task of creating a comic book, having used my childhood memories of Crayolas as a reference, I did not understand that each image and its positioning could play such a role in telling a story the way it would like to be told. I spent a lot of time experimenting different sizes for photographs, trying to not let one photo take more precedence than it should. This definitely helped me see that scale is important not only because of how many details can be reveals by an increase in a centimeter but also how the sight of an enlarged image is more occupying than one that is not.
As for the reasoning behind the imaging, I felt that reverting the color schemes in reality was a good metaphor for explaining what it can feel like to be in this city. The exterior of New York City does not change essentially: we are surrounded by architecture that stands tall in its place, the melting pot culture of ethnicities and identities, certain boroughs known for particular personalities, and people ever changing and evolving. Yet when change becomes the only constant, it becomes difficult to maintain a stead hold on the interior. I found it difficult to retain a sense of ground when I first came to New York, and struggled for a long time trying to understand how I could do so. This comic book was my interpretation of what it can feel like to not be coherent with what appearances reveal.