Oleg gets trapped

So I have this photo that I found online and saved because I liked it. I honestly don’t know where it’s from – could it be the vatican?Minister's Meeting, Fascist Rome, 1940

But I decided that I’d borrow visually from it for the illustration that shows Oleg when he’s been captured. Here’s my sketch:


And the drawing for the full spread now looks like this:


The tiny cars serve to show just how huge Oleg is. To increase the drama even more, and have some excuse for why all the cars are there, I added lots of tiny policemen – all pointing their guns at Oleg. I hadn’t planned to have them there initially, but I think it works well for the story.

Oleg picking up the bird’s nest (and being spotted)




The city…

I’ve been doing sketches of various buildings around Stockholm. Looking for details that I might be able to incorporate into the city that Oleg finds himself in.



I don’t want the city to look like Stockholm though – my idea of the city is that it’s massive – like New York or London – but with a distinct scandinavian touch. A city that’s never existed in other words.


The city council is debating Oleg…


Oleg is growing

Oleg eats a lot of junk – quite literally – and grows to enormous proportions. He gets so huge that people are panic stricken and run away when they see him coming. A truck that’s speeding away accidentally hits a tree – causing a birds nest to fall down.

First – a tiny sketch of the whole spread:


For the right hand page I went with a one point perspective, placing the eyeline at the very bottom of the page:Oleg_growing_foreground


I debated leaving the background bare yet again, but felt it would be better to put in some buildings and get more of a city feel – particularly considering I left out all of the buildings on the previous spread. So I drew a completely flat city background, like this:



And now the full spread looks like this:



I think the right hand illustration risks looking a bit too busy now – with both the buildings and all the other stuff going on – but I’ll try to separate all the visual elements when I’m doing the final illustration, and give the background skyline a very light colour.

Tank truck


Oleg arrives in the city

The chase sequence ends with Oleg on his own. And the following day he arrives in the city. For the general layout of this spread I had the idea that the city should be really busy at the bottom of the page. This is in contrast to the left side page – where there will mostly be text on white background at the bottom. (And a tiny running Oleg…)


So after doing a simple sketch of the layout I started drawing the city in Illustrator. I ended up with this:


The right hand page as a whole felt too busy to me – so I decided that I’d try to get rid of the buildings. Like this:


I like this a lot better – you can still feel the presence of the buildings even if they’re not drawn out. And the idea of having all the action at the bottom of the page becomes clearer.






The chase sequence

Well – I did wimp out on the chase sequence in the end, meaning the forrest won’t be quite as stylized as I originally intended. I felt that it would be weird to create a different look just for that segment. Anyway – here’s how it looks now:


The forrest

Oleg and Isabella are chased through a forrest. Even though I love doodling tree stumps and such, I had the idea of creating a simplified ”graphic” look for the chase sequence. If I stick to that plan I might use details that look quite organic, while making the overall shapes of trees and bushes simple and geometrical. So not really like this:


But more like this:


I like the idea, but perhaps I’m over thinking this. Should I just go with an organic look for the forrest? Or something in between?