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dt5editoriaillustration · 5 days ago

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Final Reflection (as typed in a separated document but preserved here)

Final Comic Reflection:

The concept behind my narrative was a dystopian sci-fi city which had rival factions where mechs were used to fight each other/the totalitarian corporatocracy that runs the city itself. But realistically I couldn’t fit a whole world’s worth of lore into a single comic page, so my narrative for it was simplified down into a singular scene. A mech is tasked with destroying a defense tower. However, I knew I could allude to the world itself though the artwork, infusing elements of cityscapes with a grungy, dirty, aesthetic to give an industrial, dystopian vibe without having to directly spell it out. What appealed to me about a grungy dystopian world with mechs was my recent interest in Y2K Nu-Metal music, a desire to recreate the vibe of the Deltron 3030 album over, and a lifelong love of mech comics. Plus, I wanted to do something grand for the final work of the year.

To tell my narrative, I made sure to have the proper set up needed to introduce the characters, having text define a mission statement, and then showing two subjects. This first introduces the tower and the mech, of which the mech is digital so it stands out first, denoting it as a protagonist/main character. The second and third panels are of the same scene, just add different depths, the second panel defines what the mech looks like and the third sets up the conflict as the tower locks on to the mech. The third panel mirrors the first, except this time the tower is sending it’s missiles towards the mech, setting up the conflict and the goals. The goal of the tower is to destroy the mech, and the goal of the mech is to destroy the tower, the conflict is the struggle between the two. Panels 4-10 are the conflict moments in the story, showing the sequence of the mech defending itself from the missiles, then preparing to blast on the tower using its cannon. Panel 10 is definitely the peak of the climax, showing the mech charging its cannon, reading to fire upon the tower. The final panel is the resolution, meaning one panel is the resolution panel. To make up for this, the final panel is by far the largest, and it depicts the towers destruction. It’s punctuated by a “mission accomplished” box.

In terms of comic/illustration conventions I used I made sure to use lots and lots of contrasting colours to really make everything in each from pop. It makes each panel look quite dynamic, which is what I wanted in my action-based comic. I also used many different compositions, with both static compositions for the wider, calmer shots, and more dynamic (angled) compositions for closer, more action-packed shots. I used scale too, each panel containing both the tower and the mech shows the size difference between the two, putting the mech in a position of weakness in comparison, and then when the comic resolves, the explosion is giant, really expressing the finality of that large panel.

I faced a host of challenges when going into this project. First of which was my original plan, which was to print off and cut out the mechs, then stick them to a drawing of the background. But then I realized that wouldn't really work as the dynamic colouring would take longer than the time I had, along with the cutting out processing being rather tender where making a mistake means I’d have to print off more mechs, which I didn’t have time to do. So, instead I used my original sketch, rubbed out my mech drawings, and then drew out the backgrounds adding more detail. Then I placed the new sketch behind the digital mechs in photoshop, where I then augmented the background using photoshops layer mixing tool. It resulted in a very grungy looking page which fit within the wider theme but is ultimately a little harder to follow than it was. Similar tones and colours mesh together a bit, but it’s still quite readable.

Reflection Statement

I enjoyed this paper, and the quick pace at which we worked, even if it squeezed my ambition for my final project a little bit. I found the constant shifts and introduction of ideas to be a little overwhelming, and ultimately a little hard to fully comprehend/remember fully, like some of the compositional principles and narrative principles, though some of that I already knew. I found success in the editorial illustration section, especially with spot illustrations, I felt those were my strongest. But I also enjoyed the smaller, 4 panel sequence comics akin to that of Peanuts and Garfield, I think it lends itself to parody and absurdity. Looking back on project one I feel like it was a strong start, but it definitely lacked a strong composition, with quite basic positioning within the frame, and having lots of things going on at once, it was all too confusing for a feature illustration. I feel like I now have a better grasp of composition and dynamics, which shows in my later work with the dumb phone illustration and the final feature illustration. Even now in my final comic I have given much more thought to how things are layered out, how each panel flows from one to the other.

Not to say it was all sunny days, I had my fair share of faults, the implementation of non-digital mediums was rather choppy at times. Especially with my dumb phone colours not matching or the coloured pencils being too dark in my everyday task comic. And in my final comic the physical on digital mixed media thing worked well in establishing a grimy texture to the environment, but it also provided a bit of a disconnect between the digital and traditional elements in terms of style which doesn’t mesh well in my opinion. If I were to do it over, I would've added more texture to my digital illustrations. Moving forward into the future, I definitely feel like it could excel at editorial illustration, but I’m more partial to refining and learning how to create comics. I mentioned before that I liked my mech comics, I’ve been a fan of comics for years, most of my life I’d say, starting with beano comics, then moving up to DC/Marvel, etc. I think it’d probably refine my comic making skills. I’d like to explore mixed media too, even if it didn’t mesh all too well in my final comic, I do feel like it has an unusual, experimental edge to it that it’d maybe like to utilize and emphasize in my future illustrations.

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dt5editoriaillustration · 5 days ago

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workbook notes

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dt5editoriaillustration · 6 days ago

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Final Comic Project

Ideas:

Robots Fighting

-Dystopia

-Futuristic

-Gundam Style

-Action

-Fight Scene

-Dramatic

MOODBOARD:

Paragraph (100 words): In grungy, dystopian cities desperate people congregate in factions aiming to overthrow the corporatocracy with holds the nation in a tight grip. However, each faction, despite having the same goal of liberation, intends to achieve it in vastly different ways. To quell rebellion the governing body uses large cyborg-enforcers, of which were people who had been kidnapped off the street and had their brains implanted inside the mechs and are basically mind controlled into serving the corporatocracy. Factions can capture cyborgs, some adjust the mind control in their favor, while others free their minds, and some kill them.

Research: Kunio Okawara is the original designer of gundum/mecha, and his designs have become universally influential on most mecha designs throughout modern pop-culture.

^Kunio Okawara Artwork. His original Gundam styles (simple, bulky, and blocky) will influence my mecha designs along with the original generation of transformers designs. Of which were based on the diaclone line of action figures from 1980s Japan designed by Shōji Kawamori Kazutaka Miyatake. But more specifically the adapted versions of the designs in the original transformers G1 cartoon.

In terms of city scapes I've taken major inspiration from the dirty, grungy building represented in the Deltron 3030 album cover.

The way it's rendered, the colour, the rounded shapes reminiscent of 50s space age design perverted by industrial corruption and disarray. My backgrounds will look similarly through sketch.

VISAUL LAYOUT:

Sentence: Two rival faction's mechs fight each other in the city, one trying to eliminate the other, failing to do so.

Feedback from two people: -Good art/layout.

-The story doesn't show i the pages.

Remake:

Sentence: A faction mech attacks a defence tower to destroy it.

Structure: The first panel shows a zoomed out shot of the subjects. One being the defence tower, and the other being the mech, though the mech is merely represented by a small silhouette of itself. This is to play with scale, making the tower look quite large vs. the mech as to make it a much more menacing threat. The next two panels are from the tower's targeting system, which is when we finally get a good look at the mech as the system locks on to the mech. I wanted a full body image on the first panel to really get the full design into frame, establishing how the mech looks early on. The third panel zooms in on their face, giving the reader a closer, more detailed look at the mech's head, which won't really appear over the other panels. The fourth panel is the missiles being fired, which is backed by the context of the target/locking on perspective from the previous two panels. The fifth panel is framed by missiles flying towards the mech as they get ready to slice them. The readying to slice really adds context and a smooth movement from the fifth to six panels. The six panel is the slash, the mech is silhouetted in an manga/anime style slice frame as they cut the missiles up. Here I've used typography to enhance the slash with a comic style onomatopoeia. In the seventh frame the missiles explode as the mech escapes. I've also used onomatopoeia here to further add bombast, building the tension. The eighth panel (small as to minimize attention, making the flow smoother and quicker between 8 and 9) has the mech grabbing their gun, which leads to the ninth panel where the mech points the gun (the reader will assume it's at the tower). The gun charges, emphasised with more text, which then leads to the final panel, the biggest, being the explosion of the blast hitting the tower in a wide shot.

Feedback: -The final panel needs to be more central (larger). -Emphasise the slash, maybe make the panel longer? -Needs to me more dynamic (art, poses).

Remake from the feedback. I made two versions, varying in the 6th panel (one whole or a three part sequence). Both Daniel and I agreed on option 1 (left). It's less cluttered, and the flow between 6 and 7 flows a bit better. With opt.2 (right) the explosion occurs, smoke is shown with the mech silhouette, then the mech emerges out of the smoke with their hand behind their back grabbing the gun on their back, which slows down the pace breaking down the action into three frames stuffed into a small space, requiring the reader to focus on a small area whereas every other panel is large definitive, and much more compressed. Also, the third part of the 6th panel's sequence is similar to the 7th panel, with the mech reaching for the gun, so it feels a little sluggish, too little time between frames.

Moving into full development:

Converting this to A3 paper:

^It was very hard to measure and recreate the whole comic page onto A3 considering the original was A4. So, what I did was I printed an upscaled version of the A4, then measured out the panels onto a blank A3, afterwards I then painfully copied all the scenes by hand onto the A3. This is so I have full control over how things look, and so I can create a much more detailed background.

Creating the mechs digitally:

^I wanted to create a digital version of the text, locked on target, mechs, and cannon beam digitally. This is for the mixed media element, so I wanted to experiment with combining traditional and digital elements. I'm going to next create a new environment, and then augment it in photoshop with the digital tools.

Creating/fleshing out the environment:

^This is how I augmented the environment. I went for a super grungy look, emphasising the dystopian/industrial aspect. I've also added depth to the landscape, with more buildings in the background, along with some light pollution. The body of the mech felt too clean, so I added some noise to the cream colour. This is the final design.

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dt5editoriaillustration · 7 days ago

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Comic Project 2: Everyday Task.

Concepts:

I chose number 3 to continue with, and developed it into number 4, all based around putting on headphones as my everyday activity. The first concept (3) plays with angular panels with a large central panel that sticks it all together. The fourth concept is similar, where the first few panels lead up to a larger piece, but here it's less dynamic, more relaxed, to make it different from the fourth option. Both compositions achieve the same thing but with completely different vibes.

Developing #3:

For this composition I wanted to make sure that everything was measured out since this is my physical piece. I started with a strong base, then built a sketch layer. Afterwards I went for a ink layer, this i when I added thicker action lines to make the upper panels more intense (because of their diagonal compositions contrasting the calm composition of the larger piece). To further this contrast, I added a warm orange to the top panels to make them more intense, which contrasts against the calm blue of the bottom panel where the blue compliments it's calmer composition.

Developing #4:

For the fourth composition I didn't change much from it's initial sketch outside of the colour, which i decided to experiment with in order to create an interesting contrast. While the limited colour is composed of two contrasting colours, every second panel swaps the person's colour and the background colour, which has this strange but oddly nice contrast between the panels themselves without having to change their shape, disrupting the chill vibe I'm aiming for.

Conclusions:

I personally prefer the second composition based on the result being clearer, but the first composition definitely has some interesting ideas going on with the top four panels being quite vivid and angular while the final, largest panel is the opposite.

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dt5editoriaillustration · 7 days ago

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Comic Project 1: Oswald the Cat

My new prompt its: "You find beauty in ordinary things. Do not lose this ability.

Concepts:

Oswald multiple concepts. I went for the bottom strip, I felt it conveys the weirdness I'm going for. I really wanted to abstract the prompt to it's extreme. Oswald is in a strange place, of which is unusual, where he finds beauty in this strange object, something that is a usual occurance. The shaped man tells oswald this in his shaped language, and then walks away. Text pops up saying oswald enjoys the regular occurrence. The pages are numbered too, but I'm not sure I'm going to continue with those.

When I went into the colouring process I wanted to explore different avenues. I installed a watercolour brush from the adobe website, then used it to colour my comic. I think it looks great. I also went for a limited colour pallet, with the only cool colour being blues, while the rest is a variation of orange, red, and yellow. I love the colours for this comic. I might use the watercolour brush in the future, though it's quite finicky.

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dt5editoriaillustration · 7 days ago

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Third Project: Spots

I did the first section of this in my book:

My Concepts:

Flynn's feedback for me:

He eventually chose numbers 4 and 8, he says that the 5 months text needs to be removed from 8, and that the composition for 4 could be improved.

These are the spots I came up with. I removed the 5 months text and it looks pretty great, I also adjusted the position of the badger to look less ridiculous, and I think it looks really good. Especially since I added extra impact to the drill area. I've also applied a metallic texture to both images for an extra industrial effect.

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dt5editoriaillustration · 7 days ago

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Second Project: Individual Article

What article did I get?

I got the Dumb Phone article: https://www.1news.co.nz/2024/10/30/i-dumbed-down-my-phone-for-a-month-this-is-what-i-learnt/

The main ideas I pulled from the article:

Phone being dumb (cartoon maybe?)

dumb phone opposite of smart phone (maybe use a contrasting image between the two?)

Addictive stuff like social media (could show a size difference between person/phone to emphasise social media's effect on people)

Instagram reels (article mentions instagram a lot)

11 hours a week doom scrolling (doom could be a vibe)

emotional rollercoaster of scrolling through reels (could show the phone as a monolith vs a smaller person)

Hilarious videos vs sad videos

old days when phones were purely utility

tweaking the phone you already have to make it less engaging (labotomy?)

Here's the concepts I came up with:

After consulting with my art director, we agreed on the 5th option, the phone labotomy. Since we have to do this in a different medium from what we did before, I've decided to do a painting this time. But before that, I want to get some more improved compositions and colour pallets. My art director suggested I make the composition more focused not eh actions rather than the whole scene, crop the image a bit.

Here's my adjusted design. It more specifically focuses on the actions rather than just the scene. Showing it to my art director, I was told that the first panel needs more impact.

Here's some colour pallets I made in photoshop using this updated design.

On the left are the panels my art director liked the most, and asked me to combine a few.

I showed these pallets to my art director and he said the middle was the preferred one, though incorporating the pint into it might be a good idea.

^this is the final colour pallet I came up with.

^Of which I painted at home. I couldn't get the neon pink right, nor th lighter colours, acrylic paints are much less flexible than other media in producing bright, saturated colours. That's why I decided to keep the phone white and use pends to colour in the greens and apps.

^This is the final product. I feel it represents the article well, and most certainly catches the eye, though it might have been better fit to another medium rather than acrylic paints.

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dt5editoriaillustration · 9 days ago

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Development of #3: This is the one we both agreed upon. Despite it's lack of influence from my artists, is most efficiently presents an immediate stark image, which aligns well with what an editorial illustration should do, which is catch the eye within the few seconds of attention is gathers.

This is what I went with. I pulled from Jack Kirby's interpretations of space with the circular forms littering the background. I've also went with a more involved fire, making it larger and adding some symbols in there. It's not entirely complete mind you, but it is what I ended up presenting to the class for feedback.

FEEDBACK: 1. Is the concept(s) easy to read/understand and does it reflect the article summery. Why/Why Not?

With no knowledge of the topic it doesn't really say a lot.

With the knowledge it has a lot of context.

2. What conceptual tools or compositional principals are being used in the presented concepts and what effect do they have?

The symbolism in the fire comments on the artist's work.

The glow of the fire makes it pop, it also fits in thematically.

3. What conceptual tools or compositional principals could be incorporate to strengthen the idea?

Use more extreme scale differences between the man and the fire.

Look into using a triangular composition with fire at an angle.

Maybe have the fire fit outside of the scene, making it seem bigger.

4. Other suggestions or comments?

Nobody made any more comments.

My Response:

In terms of what I will take on board I'd probably want to work on the scale a bit. Make the symbols in the fire bigger? Make Phil Smaller? I might also want to further emphasize the glow around the fire. But, most of all, I think the idea of having a more angled, triangular composition would really work cause right now it's kind of boring with a basic vertical composition.

Further Development:

In the end I made the fire quite large and pulled back the colour from the background. The desaturated background contrasts with the bright colours of Phil and the fire. The fire itself has had two gradients applied to them, one for the inner flame and one for the outer. Both have a circular gradient with a lighter center and darker outsides. This was to add more glow, but also to highlight the space between the hand and the bird. The scale of the symbols is much bigger, but the colours blend with the fire as to not be too opaque which would take attention away from the rest of the composition, removing all subtly. I at one point had lightning, though I felt it was too much, felt like there were too many bells and whistles. MY CHOICE BETWEEN THE TWO OPTIONS:

While it was a hard choice since I put so much effort into both compositions, I felt as if #3 was a much easier and more immediate composition, much more fitting for an editorial illustration. #7 would work pretty well too, but I feel like you'd have to take a while to unpack everything going on, and that's time wasted.

SPOTS:

After some feedback, I ended up choosing the burning flower and the crow on the skull as spots. This is because both are simple but powerful and relevant images to the article. Though, I would have to adjust the scale in the crow/skull illustration to make the crow larger and more visible.

For the crow/skull illustration I decided to go for a more painterly style, focusing on creating an image that had enough surface level detail to look nice, but also not too much as to not completely blur the image considering how small it's rendered in the paper.

For the Flower, I decided to base it off a rose. Though, I'm not sure how well that comes off, though it most certainly looks like a flower, despite the lack of colour. Same with the fire, which looks reminiscent of the feature illustration. Also calling back to the feature illustration is the background noise bursting out of the fire, adding a small glow effect.

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dt5editoriaillustration · 22 days ago

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FINAL EDITORIAL PROJECT: PART 1

The article I chose: https://www.thefader.com/2024/10/31/mount-eeries-impermanent-eternities

Why did I chose this article? Because I'm a fan of Phil Elverum and his music which inspires much of my visual art, along with some of my other favourite bands/artists. I take inspiration from music in my illustrations as much as visual arts, and I like looking into how artists think, their processes, and how the interpret the world. Usually I find what they have to say about their art much more insightful than the art itself, their perspective is invaluable. This article is relevant to Phil's latest album "Night Palace" under one of his many monikers "Mount Eerie", but in the interview he talks about his wider philosophy around nature which is relevant to all of his music.

Keywords/phrases/Visual Cues:

Nature, remoteness, loss, poetic, fire, lightning, wind, fog, nature fetishisation, motherhood, connection between the mundane and the infinite, metaphorical, signifies more than a toothbrush (referring to one of his songs, something signifying more than what it is), mysticism, Impermanence, portal opens to another dimension, air organ (an instrument which produces drone sounds), bonfire, mountains, trees, nature representing ambiguous ideas, acceptance of him using nature as a symbol a lot, washing dishes in the night after putting the kid to bed and looking out the window at the world and burning with internal lighting with magic and fire, huge fire, forest, overgrown, pitting fire against water, and the water is the lesser of the two, eternal glow, eternity of nature as opposed to the impermanence of human life, air organ (what he's describing is a hand pumped harmonium), Crows (in reference to his older album "a crow looked at me", representing his lyrical realism in the face of great tragedy)

Condense the article into a few sentences:

Phil Elverum talks about his new album "Night Palace" in terms of how he uses nature to deliver his metaphorical lyricism which focuses on the impermanence of human existence. This is a return to form from his recent works which dealt in more realism, a reaction/response to the death of his wife. He discusses why he uses nature as a language, and how his past/environment influences that. Phil mentions the fetishisation of naturalistic imagery, and how he has accepted his lyrical vocabulary being full of these glorifications, but still doesn't like the idea of it. While he doesn't connect the eternity of nature as opposed to human impermanence, he does say impermanence is one permanent thing.

What is the core narrative/theme?

The article/interview tells the story of Phil Elverum's relationship to nature, and it does this by covering his past and his present. It states he grew up among the islands between Washington and British Columbia, and how the mountainous, forested environment influenced his lyrical vocabulary. Elverum uses these images to craft his metaphors relating to human impermanence, death, and the totality of the universe in all it's mass in comparison to our mundane existence. But, the article is also about Phil's aversion to the fetishisation of nature (also referring to a previous interview) in his music. He's referring to his complete focus on nature as a consistent lyrical imagry to deliver metaphorical allusions to real things (like how a mountain can represent something monolithic and impassable), he feels like he overuses naturalistic imagery/sounds. Though, he also mentions he has ultimately accepted that it's emblematic of who he is as a person.

ARTIST RESEARCH:

Artist Profile #1: Peter Kyprianou

Peter Kyprianou, London Based Illustrator with Greek Cypriot background, is known for his professional illustrations.

(Hipster Infographic (left). Feel The Burn (Right).)

He works primarily in photoshop and illustrator. He illustrates people, infographics of people, and depictions of mundane, everyday life.

Hipster Infographic: It's never stated whether or not the illustration is personal or commercial, though understanding Kyprianou I'd assume it's commercial, he does a lot of editorial/infographic illustrations. It's interesting because of the subject matter, a diagram of a hipster is a bit of a ridiculous concept if you think about it for a bit. Though it fits with his style, focusing on surface level culture. I really like the clean line work though. Feel The Burn: This appears to be a commercial work, and considering it being tagged as "editorial" I'm assuming it was made for an article. I like how the article itself frames the illustration, especially in an L formation.

What do I want to take from Kyprianou? Mainly his clean illustration style. I also primarily use photoshop, not illustrator as much. But, if I decide to do boarders, it might be good to use that L shaped boarder, it's more interesting than just a simple square.

Artist Profile #2: Gustav Klimt

Gustav Klimt was born in Moravia (now the Czech Republic) in 1862. He's known for his lush, glamourous paintings which contributed to the influence of the future Art Nouveau.

(the kiss, 1908 (left). Portrait of Adele Bloch-Bauer I, 1912. (right))

He often used oil paints (including the paintings seen above). Thematically it varies from work to work, but generally his work expresses a feeling of love, humanity, and compassion.

The Kiss, 1908:

The Kiss is a personal work for Gustav Klimt which uses a very unusual composition and contrasting shapes with lovely use of colour to create a very sentimental image. What draws me to the image are the early colours, and the use of gold leaf to create something that's the opposite of metallic. And, for both works, I do love how the composition spills out of the page, it makes the work feel like a small slice of a larger world. Portrait of Adele Bloch-Bauer I, 1912: This piece was commissioned by Ferdinand Bloch-Bauer. It utilizes a similar composition to the previous piece mentioned, with the figure spilling out of the canvas just off of frame, though it doesn't suggest much space in the scene as the gold leaf walls are much too similar in tone to the Woman's dress, flattening the image, reducing the depth compared to the kiss. Though, it's composition is more solidly triangular, with the peak being at her head and the base being at the bottom of the canvas. The shape patterns contrast quite well on the dress as the circular patterns meet rectangular patterns, creating a moving sense of texture.

What do I want to take from Gustav Klimt?

Both his compositional style where the subject spills out of the page, plus the triangular composition. His early tones also would be good to in nature heavy pieces.

Artist Profile #3: Aubrey Beardsley

Born in 1872 in Sussex, Aubrey Beardsley was an artist known for his wide influence, blending the line between high art and low art with his unique and beloved posters.

(The Climax, 1893 (left). How Sir Tristram Drank of the Love Drink, 1893 (right).)

He is known for his use of black ink, taking inspiration from Japanese artists for his illustrations. He commonly covers themes of gender/sexual identity, usually challenging the established norms of the time, and often satirized Victorian aesthetics/ideas.

The Climax:

The Climax really drew me in with it's strange subject matter of what it is a scene from an Oscar Wilde play from 1891, but it wasn't commissioned. But, secondly, it drew me in with it's flowing shapes, the hair, the cloths, the black swerve of colour, the blood coming out of the head. It all melds together to create a very smooth and lovely to look at poster. It's hard to explain it's composition, but it does have a similar unusual quality to previously mentioned artist, Gustav Klimt. It's floral pattern in the upper left corner flows out of the scene, same with the blood dripping out of the head. How Sir Tristram Drank of the Love Drink:

How Sir Tristram Drank of the Love Drink is an illustration which was made for the prose work Le Morte d'Arthur which was republished by J.M. Dent in 1893. This illustration predates the Art Nouveau movement yet has all it's elements, especially with a boarder of floral patterns. Even then, it's a very vertical composition with many of the arrangements and lines being rigidly vertical. The Art Nouveau elements are what really draw me to this one in particular.

What I want to take from Beardsley?

Mainly his floral boarders, I think it fits within the theme of nature being used as lyric fodder for Phil.

Making a Choice:

I ended up presenting numbers 5, 7, 3, and 6. Conversing with Daniel, I ended up on deciding on both number 3 and 7 to move forward with. Though, for number 3 I was advised to find a way to spice up the background, such as a Kirby styled space texture.

Development of #7:

The reason I chose to carry on with two is that I felt the one we both agreed upon (being #3) didn't represent enough of my artist research. #7 uses elements of all the artists. The Nouveau style flora boarder from Beardsley, the colours I intend to use (yellows, browns, and oranges) from Klimt, and the clean illustrator style of Kyprianou.

Currently got some base colours in. Keeping the early tones in mind, but contrasting them with the blue of the water looks really nice. Phil should also be wearing early tones as to keep everything consistent.

^Here's the final product. I've made Phil's colours earthy but also quite desaturated, contrasting with the deep saturation of the environment whilst also compositionally linking with the stone under the rails. Making sure he's both visible and fits with the composition. I've added a couple little details like a skull, book, and pen next to Phil representing his tendency to write about death. There's also the crows among the trees and flying into the black hole (barely visible unfortunately), symbolically meeting their end as his realistic "crow" era lyrics die off, instead traded in for his more surrealistic, nature based lyricism. That's what the environment represents, his tendency to use nature in his lyrics as metaphorical tools, of which I'm using as a metaphorical tool to represent that. But also, mind you, representing the theme of the article as the train track, along with the flowing river, and the autumn leaves lead to the black hole, a representation for how life moves along with it's ultimate destination being death itself, which is thematically true with the article as human impermanence is mentioned.

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