Illustration and Visual Narrative- Project 1 Exercises 1 & 2

24/3/2022- 30/4/2022 / Week 1 - Week 5
Chuah Kwai Pin / 0348376
Illustration and Visual Narrative / Bachelor of Design (Hons) in Creative Media / Taylor's University
Project 1 Exercises 1 & 2

LECTURES:

Week 2: Character Design Basics

Stylised Design

1) Iconic: Can immediately recognise them even in black silhouettes.

2) Simplicity: Allows viewers to digest and understand the purpose of the characters easily.

3) Unique: Not only memorable, but makes an impact on viewers.

Principles of Character Design

1) Shapes

Design a character's silhouette
Used to identify a character from one another
Explore the possibilities of combining different interesting shapes for your design
Add weight to personality, use character's persona as basis of the shapes of your design

2) Colours

Establish basic roles of characters
Determine and separate basic characteristics of heroes, villains and background characters
Colour psychology- give impressions of different emotions and easily relatable by viewers

3) Emphasis, contrast

Exaggerate to memorate
Making the design stand out using contrasting colours and shapes

4) Harmony

Compliment each other
Shapes, lines, colours, motifs, patterns must be put together in a tasteful manner
Visual hierarchy
Reflect with narrative of the characters

5) Expressions, poses

Expressive, emotive characters win the audience
Clear visualisations of character's behaviours, quirks, personalities make it easier to appeal viewers.

Week 3: Chiaroscuro

1) What is chiaroscuro

The use of light and dark to create the illusion of three-dimensional volume on a flat surface.
An Italian term which means "light-dark".
In paintings, the technique refers to clear tonal contrast (used by Leonardo da Vinci and Caravaggio).

2) Purpose of chiaroscuro

To increase the scene's dramatic tension by exaggerating the subject's importance using colour or light contrast.

3) Application of chiaroscuro

For visual artworks such as comic, film and digital works.
Focus point or subject of a scene is brightly coloured or contrasted with a dark background.

4) Different uses of lighting in chiaroscuro

Low-key lighting: accentuates the contours of the subject by throwing areas into shade, while a fill light illuminates shadow areas to control contrast.
To create emotional scenes
To create impactful scenes

5) Use of chiaroscuro in visual narrative

An excellent lighting choice to differentiate positive vs negative spaces.
Positive space: the subject matter or object of interest in a visual.
Negative space: the filled space or background that surround subject matter or object of interest in visual.

6) Why chiaroscuro should be implemented in visual narrative

Increase dramatic tension: gives thrilling emotive depth on the look and feel in the scene.
Create sensational effect: helps elevate fantastical viewpoints to emphasis on the narrative.
Attract attention: establish visual hierarchy, the main point of the scene.
Make tasteful composition: the play on negative vs positive spaces creates attractive scenes.

Week 4: Composition Theory 1- Visual Types and Shots

Introduction to composition

The arrangement of the elements in your visual.
The answer to arranging your visuals effectively is to arrange them in a way that it brings out meaning.
Composed shots should consciously be arranged so that the focus of the scene stands out even in the subtlest manner.

Basic composition visual rules

1) Visual Narrative

Composition should complement your subject focus and reflect the narrative.
Think of the look and feel of the scene and try to get their emotions on the same page.

2) Visual Flow

Composition determines the path of a viewer's eye through the visual.

3) Visual Balance

It can be difficult to know the exact path a viewer's eye is going to take but you can nudge things one way or another.

4) Visual Hierarchy

The way you visualise and focus your subject matters can have huge effects on the composition the artists make. (can even affect course of history).

Different types of shots

1) Establishing

Wide shots that are used to establish not just the setting, but to portray spectacle and give audiences the chance to take in the beauty of a location, while still getting enough information to process what is going on.

2) Bird's Eyeview

Overhead shots, where the POV is placed directly above the subject. Somewhere around a 90-degree angle above the scene taking place.

3) Frame within a frame

Can fracture screen space, add depth and create visual interest in your cinematic compositions. Can emphasise and highlight the underlying meanings within the story and break down information in the frame for maximum impact.

4) Medium shot

Also called a three-quarters shot. One of the standard camera angles used to drama a character, it's the shot in-between a close-up and a long shot.

5) Close-up

An intimate moment, a look into a character's mind. It allows us to 'catch' emotions and make us invested in the characters' well-being. These type of shots emphasise emotions and thoughts within a grander context.

6) Worm's eyeview

A POV where the camera is being placed at a low angle and is pointing towards the top. It is almost like the view from a worm's perspective, opposite of a bird's eyeview.

Week 5: Composition Theory 3- Fore, Mid and Background

Composition

Composition refers to how your image is put together. If used in the right way, it can take your art to the next level and make a piece really grab your audience's attention.

When composing a scene, creating an effective sense of the space is very important.

1) Foreground: Nearest to the viewer

Using size differences and colour contrast to highlight foreground as main focus

2) Middle-ground: In between foreground and background

Using size differences and light/shadow contrast to highlight the main focus

3) Background: Furthest away from the viewer

Using shapes and light/shadow contrast to highlight the main focus

Design Flow

Good arrangement of visual focus using foreground, middle-ground and background should indicate a sense of movement, and rhythm in your design

What is Design Flow?

The way your eye moves or is led around a composition
A design with good flow will lead the viewers' eye throughout the layout, moving from element to element with ease.
Able to influence the way the viewer will digest your content. (Important in interface and information design types where you need to combine type, line, contrast, colour and imageries).

INSTRUCTIONS:

Week 2: Character Design Basics
Lecture Report 1: Visual study

1. For your study, find one animated cartoon / anime character.
2. Write a short report (min. 300 words) about how the character design elements works in relation to their personality and story in the media.

3. You can re-use back the points identified in this slides to help you write your report.
4. Post your report into your blog as your weekly entry.

Fig. 1.1 Stitch from "Lilo & Stitch" (5/4/22)

The character I have chosen is Stitch from the animated film entitled “Lilo & Stitch”. Starting off with looking at Stitch’s overall body silhouette, it is peculiar and unique as it resembles none of the animals we have in our world today. With his big floppy ears, sharp claws, huge button nose, large onyx eyes and sharp sets of teeth, it gives us an idea that Stitch is from another world, a one of a kind alien which does not exist on planet Earth.

Further studying the colours of Stitch, it is monotonous with different shades of blue and a light shade of purple in its ears. Based on colour association, blue usually represents the male gender as it is a symbol of strength and masculinity, which provides indirect information that Stitch is a male. Not only that, the colour blue is also associated with peace, happiness and comfort which reflects the personality of Stitch. Stitch was given his name mainly because he is what pulls their family together, in peace and harmony.

Moving on, Stitch’s ears take up almost a third of its overall frame. It is what gives emphasis to the character and makes it memorable to viewers as it stands out from its body. By studying his sharp claws and teeth, it suggests that Stitch was made to be destructive, mischievous and clumsy.

Fig. 1.2 Stitch's expressive ears (5/4/22)

Lastly, as we look at his expressions and poses, we can see that Stitch manages to stand on both 4 limbs and 2 limbs. This suggests that he is versatile and has a high adaptability to situations where he needs to stay low to not get caught. Not only that, Stitch is also very expressive in many ways. With its big floppy ears being the emphasis, Stitch’s expressions can be shown based on the movements of its ears. When it is drooping down, it suggests that he is sad or regretful. Whereas when it is perking up, it shows how excited and happy he is together with its sets of teeth shown on display through his wide grin.

Week 3: Chiaroscuro
Lecture Report 2: Visual study

1. Read the web article as attached.
2. For your study, pick ONE scene from any screen media (Movie, drama series, animation) that utilises chiaroscuro lighting- style that emphasies shadow and light.
3. Write a short report (min 500 words) about how the lighting in the movie impacted and accentuate the importance of the particular scene in the narrative.

Fig. 1.3 Mirabel finding the shattered pieces of Bruno's vision in his room
(Encanto, 2021)

In this particular scene of Encanto, Mirabel, who was curious about Bruno’s last vision before his disappearance, was forced shut in Bruno’s room with no source of light. This explains the dark background behind her which serves as the negative space, giving stronger emphasis on the subject of interest. At first glance, our eyes draw to the luminous green object that the subject is holding. In contrast with the dark background, this object is the only glowing light source that allows viewers to still see the subject and follow the narrative of the story. This specific use of light and dark to create clear tonal contrast and suggest 3-dimensional volume on a flat surface is what is known as chiaroscuro.

With the use of chiaroscuro, it heightens this scene’s dramatic tension and leaves the viewers anticipating for more. This is achieved by using an outstanding and attention-grabbing colour which dominates the scene and directs viewers’ eyes onto that specific object. Not only that, it also makes the scene climatic, giving it an element of suspense and keeping viewers at the edge of their seats to know how the story is about to unfold.

As we study and pay close attention to this scene, we get to see how Mirabel picked up each of the shattered pieces and reassembled them back together by matching the outlines like a puzzle. While the individual pieces glow bright enough on their own, when they are matched together, the glowing light gets significantly more intense each time a new piece is connected. This particular detail greatly emphasises on the luminous object and hints at the viewers that it plays a big part in the narrative of the story. As the objects glow brighter and brighter, it also suggests that something big is about to happen. It brings out a sense of danger and builds up tension in preparation for something bad coming to interrupt the subject.

In addition to that, the strategic use of light and dark also helps to give focus to the emotions of the character. In this scene above, we observe that the pieces are being joined together, allowing more light to shine through the room. At the same time, the expression shown on the subject’s face gets more and more profound. As we study the facial features of the subject, we are able to see the finest details that suggest her current feelings. With the frowning eyebrows, enlarged pupils and parting lips, it clearly showed her mixed emotions of shock, worry and confusion. This helps viewers understand the current state of the subject after figuring out something so significant, as well as predict how the subject will handle the situation in the following narrative of the story.

Overall, the use of chiaroscuro in this scene was very well executed as it greatly emphasised and put focus on the subject. It strongly captured the essence of suspense as well as the emotions of the main subject. In contrast with the bright and lively scenes that we saw in the beginning of the story, this scene definitely becomes more memorable as it shows something different from others with the help of using chiaroscuro to portray the scene.

Week 4: Visual Types and Shots
Lecture Report 3: Visual Study

1. Using your phone camera, take pictures that depict the six different types of composition explained in this lecture.

2. Upload these pictures into your blog.

1) Establishing Shot

Fig. 1.4 Establishing Shot

This picture was taken in a landscape, 4:3 aspect ratio. I took this picture of my dog, Leo, because he looked like he was living in the moment, so calm and composed

2) Bird's Eyeview

Fig. 1.5 Bird's Eyeview

This picture was taken in Macau, on the highest floor of one of their shopping complex. I loved the pattern on the floor tiles and the choice of warm colour tone used.

3) Frame within a frame

Fig. 1.6 Frame within a frame

This picture was taken using a roll of green tape and my green turtle plushie. I have never really taken a frame within a frame shot so this was quite an explorative attempt.

4) Medium shot

Fig. 1.7 Medium shot

This is a horse clock antique which I thought looked very majestic with the light shining from the right and the shadow casted on the left. Rather than a close up, I chose to take a medium shot as I wanted it to capture the intricate details on its limbs, mane and built body.

5) Close-up shot

Fig. 1.8 Close-up shot

Another picture of my dog but this time a close-up shot. This shot helps to capture every fine detail from the smoothness of its fur down to rough texture of its tongue that it sticking out from joy.

6) Worm's eyeview

Fig. 1.9 Worm's eyeview

This picture was taken from a very low angle to create an effect that this huge bottle is seconds away from trampling on a literal worm. I think that from this angle, it definitely exaggerates the size of the bottle and makes it look way bigger than its original size.

Week 5: Fore, Middle and Background
Lecture Report 3: Visual Study

1. From any video, screen capture scenes that portray foreground, middle-ground and background in the story.
2. Outline areas in the scenes for each grounds.
3. Upload these pictures into your blog.

4. Explain what design principles applied for each visual and how it affect the narratives.

Fig. 1.10 A scene of Miguel performing (Coco, 2017)

In this scene where Miguel was performing in the 'Land of the Dead', we can see that he is standing on the stage, in the foreground. While the middle ground is occupied by the audience and background filled with buildings and houses, all the spotlights and stage lights present are pointing towards Miguel on the stage. Not only that, while the background is busy with cool tone colours such as blue and purple, Miguel stands out as an emphasis by wearing red. For the composition of this scene, it applies the Golden Ratio whereby the path of our eyes settle on Miguel first then later to the audience and rest of the background.

Fig. 1.11 A scene of Miguel and Hector performing together (Coco, 2017)

In the same scene where Miguel and Hector are performing on stage together, we see that the focus is on the both of them rather than the audience and the background. In the foreground, we see the heads of the audience and most of them are out of focus in the frame. Even in the background, we can see the spotlights being directed to the centre where Miguel and Hector are standing.

Fig. 1.12 A scene of Miguel looking into Ernesto's resting place (Coco, 2017)

In another scene where Miguel looks into Ernesto's resting place, we can see Miguel in the foreground taking up almost half of the frame. However, the focus is still given to the background as that is what is being highlighted in the narrative. Besides that, Ernesto's portrait and guitar is given emphasis with the help of the frame within a frame shot as it sits just inside one of the window grids.

PRACTICAL:

Week 4 Practical Work

In this week we did a chiaroscuro exercise on a pear. We learned how to use knife and elipse tool, how to merge and divide, how to duplicate as well as how to trace a skull shadow onto the pear

Week 5 Practical Work
For this week we had another chiaroscuro exercise as well but with people. We had to trace out this man from a picture using pen tool and then added shadows as well. We also tried to replace the shadow with a watercolour background and it turned out well and way more interesting than plain black shadow.

Exercise 1: Vormator Challenge

Fig 2.1 Vormator Challenge Elements

For our first exercise, we were required to trace out the Vormator Challenge shapes using pen tool and pen curvature on Adobe Illustrator. After tracing the out, we had to assemble and arrange them to form or represent a monster or a character.

Fig. 2.2 Vormator Challenge Monsters

After learning how to trace the shapes in class, I then proceeded to sketch out some monsters in my sketchbook before executing my ideas out on Adobe Illustrator. I would say that sketching beforehand definitely helped me save a lot of time and allowed me to think about the shapes to use for each particular part. I have tried 2 botanical-inspired creatures and 2 other monsters using all the shapes wisely. Overall, it was a very fun experience playing around and assembling the different shapes to make a character.

Fig. 2.3 Final Vormator Character Design Process

After getting enough practice and explorations done with the shapes, I began to work on a final character I wanted to create. At first, I only decided that I wanted to make my character a cat, but to make it more interesting, I wanted to make it a heroic cat. Hence, I brainstormed on the power attributes that my heroic cat could have and decided to give it water powers, in contrast to the fact that cats hate water. It's a pretty ironic power, but that only adds on to the cat's bravery as a hero.

Fig. 2.4 Final Vormator Character

I thought about the powers my cat character has and how it could be helpful to us and decided to give him a name that best reflects his character. I have named him 'Aquarain' and as cliche as it sounds, it is literally two words 'aqua' and 'rain' combined together. The reason behind is clearly his water powers.

Fig. 2.5 Additional and changed elements

After Week's 5 feedback, I have decided to add more elements to cover up the sharp pointy edges so that it can complement the overall round edged look of my character. I also added a ribbon and bell decoration to my character's leash to add a more memorable feature to his appearance.

Fig. 2.6 Final Vormator Character- Aquarain

Exercise 2: Game Card Design

Fig. 3.1 Game Card Design Process

After completing my Vormator character, I then proceeded to search for visual inspirations for my game card design. I saved quite a few layouts but I could not find one that specifically fits the theme and colour palette for my character so I decided to create one from scratch.

Fig. 3.2 Final Game Card Design

FEEDBACK:

Vormator Character: Since the character is overall very round, cover up the pointy areas like the shoes and the tail. Character has been established, but it still looks half complete. Consider adding a scarf or something to cover up the joint between its head and neck.

Game Card Design: Has the kiddy flash card vibe. Good analysis on the game character to come up with similar vibe for game card

REFLECTIONS:

Throughout these 5 weeks of learning Adobe Illustrator, I can see myself slowly getting familiar with it. At first I was very worried because I was totally new to using Adobe softwares and I was more comfortable in traditional means of art. Using the pen tool was a challenge as well because it was so new to me and I thought it would have been similar to using a brush. However, I find pen tool to be very useful now and I could get a lot of things done quickly with it.

As for the Vormator challenge, I also did a few experiments to get used to the possible placements of shapes and colour combination. However, I did not really find any of them to be a good final design so I kept trying. Overall, it has been a very meaningful process of trial and error as I also got to learn from my mistakes and slip ups so that I can avoid them in the future. I had a lot of fun doing visual research for the game cards as well, but most of the existing ones did not really suit my game character like how I wanted it too. Hence, coming up with a totally new layout was brain-wrecking, but it expands my space for exploration and creativity which I am grateful for.

Chuah Kwai Pin (0348376)

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