How do you piece together each episode? Do you plan it out as one long sketch or do you slot it together as you go? And how do you go about creating the final work – do you have a really really widescreen monitor?!

DL: I don’t have a really wide monitor, although that would be nice. Scrollon stories are created much like a storyboard for a film. Each beat of the narrative is an individual frame. They can be any width, but they must have a consistent height. A close up of a character may be a narrow frame. That same character walking through a forest may be very, very wide.

When I refer to height and width of the images it is relative to the orientation of the story. A unique attribute to reading Scrollon on a tablet is that you can shift from landscape to portrait within the story by motivating the viewer to rotate the device. There is an example of this toward the end of Autumn & Gearlock “Outlaws and Orphans” Pt 1 (currently available on the app).

What did you find were the biggest challenges you faced when devising the app? Both in terms of creativity and the process of putting the app together? And what part of it are you proudest of?

DL: The biggest challenge is that I’m not a programmer. I had to find people experienced in that field. The fun part was devising the visual language needed to tell a story as a continuous image.

What format do you think is the optimum way to read a Scrollon title? iPad, Phone, Computer screen or something else? 

DL: The Scrollon App is currently available for the iPad, but we are working on the iPhone and Android versions. Ultimately it will be smartphones on which Scrollon excels. The format is uniquely suited because it maximizes the screen real-estate and doesn’t compromise the creator’s vision. Scrollon stories are not designed just to be viewed, they are designed to be traveled.  This works as well on a small screen as on a large.