Illustration & Visual Narrative | Task 1: Exercises
September 24, 2024
24/9/24 - 11/10/24 ( Week 1 - Week 4 )
Nicco Chew Jin Xun (0366563)
Illustration & Visual Narrative | Bachelor of Design (Hons) in Creative Media
Table of Contents
1. Lectures
2. Instructions
3. Task / Work Process
4. Feedback
5. Reflections
6. Further Readings
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Lectures
[ Week 1 ]
Character Design Basics
figure 1.1 - stylised design
Stylized Design
- Iconic - can be recognize by only black silhouettes
- Simplicity - viewers are allowed to understand the purpose of characters easily
- Unique - Makes impact on the viewers which is memorable
figure 1.2 - principles of character design figure 1.3 - colour
Principles of Character Design
Shapes
- Creates character's silhouette
- Add weight to character's personality
Colour
- Define basic roles of characters
- Play a crucial role in distinguishing & separating the core traits of heroes, villains and even background characters
- Different colour give impressions of different emotions
Emphasis / Contrast
- Exaggerate to memorate
- Design stand out by using colours which exaggerates on emphasis and contrasting visual elements
Harmony
- Every elements in design should compliment each other
- All shapes, lines, colours, motifs, and patterns should be combined in a pleasing way
Expressions, Poses
- Expressive emotive characters attracts the audience easily
- A clear visualization of character's behaviours, quirks, and personalities makes it easier to connect with and appeal to viewers
[ Week 2 ]
Chiaroscuro
figure 2.1
Definition and Origin:
- Chiaroscuro: An Italian term meaning 'light-dark'
- Used to create the illusion of three-dimensional volume on a flat surface through tonal contrast
- Originated in Renaissance art, famously used by artists like Leonardo da Vinci and Caravaggio
Purpose:
- Enhances dramatic tension by exaggerating subject importance through contrast in colour or light
- Example: Caravaggio's The Calling of St Matthew (1599-1600) where light is used to highlight the subject
Tenebrism:
- A painting method where significant details ( faces, hands ) are illuminated, contrasted with dark settings
- Example: Caravaggio's The Taking of Christ (1602)
Low-Key Lighting
- A style of lighting used in photography, film, and television to accentuate contours of the subject
- Shadows areas are controlled by a fill light or reflector to create contrast
- Example: The Godfather (1972), where low-key lighting intensifies emotional scenes
figure 2.2
Impact in Visual Narrative:
Differentiates Positive and Negative Spaces:
- Positive Space: The subject matter or object of interest
- Negative Space: The background surrounding the subject
Increases Dramatic Tension:
- Adds emotional depth to the scene
- Example: House No Kuni (2020)
Creates Sensational Effect
- Emphasizes the fantastical or narrative aspects
- Example: Batman (Comics)
Attracts Attention:
- Establishes visual hierarchy by highlighting the main subject of the scene
- Example: Into the Spider-Verse (2018)
Creates Tasteful Composition
- The play of negative vs positive space enhances the visual appeal of scenes
- Example: Moon Knight (Comics)
[ Week 3 ]
Composition Theory 1 / Visual Types and Shots
figure 3.1
Definition of Composition
- Composition refers to the arrangement of elements in a visual
- Arranging elements effectively to create meaning in a visual
- Examples: Invisible by Laura Williams (2013) shows deliberate object arrangement & The Grand Budapest Hotel by Wes Anderson (2014) exemplifies subtle focus in scenes
figure 3.2
Basic Composition Visual Rules
Visual Narrative
- The scene's composition should enhance the narrative and subject.
- Example: Violet Evergarden, Episode 10.
Visual Flow
- Directs the viewer’s eye across the visual.
- Example: Demon Slayer: Mugen Train (2020).
Visual Balance
- Arranges elements to balance the composition visually.
- Example: Parasite by Bong Joon Ho (2019).
Visual Hierarchy
- Guides the viewer’s attention to key details first.
- Example: Christina of Denmark by Hans Holbein the Younger.
figure 3.3 - 6 types of Visual Shots
Types of Visual Shots
Establishing Shot:
- Used to set the scene and provide context to the audience.
- Example: Wizard of Oz (1939).
Bird's Eye View:
- Also known as an overhead shot, taken from a 90-degree angle above the subject.
- Example: The Avengers (2012).
Frame Within a Frame:
- Adds depth and visual interest by creating a frame using elements within the scene.
- Example: Mulan (1998).
Medium Shot:
- Frames three-quarters of a character, often used for dialogue scenes.
- Example: Titanic.
Close-Up:
- Captures intimate emotions by focusing on a character’s face.
- Example: Get Out (2017).
Worm’s Eye View:
- Low-angle shot that emphasizes the height or dominance of a character or object.
- Example: The Avengers: Age of Ultron (2015).
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Instructions : Module Brief
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Task / Work Process
[ Week 1 ]
The Bézier Game
figure 1.4
figure 1.5
Exploring The Pen Tool: The Bézier Game
My tutor, Mr.Hafiz introduced us to the Bézier game, an engaging and interactive way to develop skills in using the pen tool. This game challenges me to draw accurate curves and shapes by manipulating Bézier handles, which is a core technique in vector-based design software like Adobe Illustrator. It’s a great way to practice precision, enhance my control over curve creation, and get a better understanding of how smooth lines and shapes can be built with minimal points.
This game has really helped me grasp the importance of accuracy and efficiency when working with Bézier curves. While it can be tricky at first, with practice, it becomes easier to create fluid and seamless designs.
[ Week 2 ]
Task 1: Vormator Challenge - character creation (20%)
figure 2.3 - the 8 provided shapes
For this first project, we were required to design a character using only the 8 provided shapes. We engaged in a creative exercise designed to teach us the basics of vector illustration and character design using Adobe Illustrator. The challenge was set by Mr. Hafiz, who provided us with a set of predefined shapes, and we were required to create a unique character by combining and manipulating these shapes while following specific guidelines. For instance, we are not allowed to distort, compress, or stretch any of the shapes. This exercise aimed to enhance our understanding of proportion, balance, color, and composition, and master Adobe Illustrator.
figure 2.4 - the Zerk
Next, we had to trace all of these shapes using Adobe Illustrator, using tools like the pen tool and curve tool, and path. This allowed us to refine the shapes and practice precision, giving us a deeper understanding of how to manipulate paths and curves to achieve the desired results.
Initial Sketch of my character design
figure2.5
Where I drew inspiration from
figure 2.6 - Wings of Fire Truth and Dare figure 2.7
Since we were tasked with creating a character in Adobe Illustrator, following the Vormator Challenge rules. I decided to base my design on a mythical dragon-inspired character named "Lunithrax."
Lunithrax – Combining "lunar" with a strong, mythical-sounding name like "Thrax."
The challenge restricted me to using only eight predefined shapes, which I combined and manipulated while adhering to specific design rules. As part of my process, I included my initial sketch and referenced some dragon's photo that served as my inspiration.
Inspiration and Concept
I wanted to create a character that embodies strength, mystery, and fantasy, so I decided to merge the elements of a dragon and humanoid figure. The idea behind "Lunithrax" is to represent a powerful guardian of the night, with its dark and mystical features.
Initial Sketch and Inspiration
I began by sketching out my character based on the dragon inspiration. The reference image helped guide the form and proportions, especially for the horns, wings, and tail. From there, I started experimenting with how to translate these elements into the Vormator shapes.
[ Week 3 ]
Class Exercise
Mr. Hafiz provided a detailed demonstration on how to effectively use the Pathfinder and Shape Builder tools in Adobe Illustrator. His goal was to familiarize us with these essential tools and help us become more comfortable with their associated keyboard shortcuts and techniques. By guiding us through various examples, he showed how to use these tools to manipulate and merge or divided shapes, making the process of creating complex designs more efficient.
To reinforce what we had learned, we were given a hands-on exercise where we recreated the Adidas logo. This exercise allowed us to practice the techniques we had just been taught, helping us understand how to break down and rebuild shapes using the Pathfinder and Shape Builder tools.
Work Process of my character design
figure 3.6 - main body
figure 3.7 - limbs figure 3.8 - wings
Tracing and Combining Shapes
Using Adobe Illustrator, I first traced the predefined Vormator shapes. I then began to combine them to create the structure of my character, starting with the main body, followed by the limbs and wings. The challenge was to stay within the constraints of not altering the shapes's proportions which means that if I have to change that 8 shapes, I need to press the 'shift' button so that the shapes will not be stretching and squishing but only the sizes.
Body Construction
I began constructing the body using the circular shapes to form the torso and the tail, which I later enhanced with patterns to give a scaly, reptilian texture. I focused on balancing the body proportions to create a sense of symmetry and stability.
Wings Design
The wings were a key feature of my character. I used the wave-like shapes to create a dynamic and fiery look, giving Lunithrax a majestic yet intimidating presence. The curved edges gave the wings fluidity and movement.
Arms and Hands
For the arms and hands, I carefully combined shapes to mimic muscular arms and clawed hands, giving the character a strong and aggressive look. I used symmetrical shapes to ensure that the arms appeared balanced and proportionate.
figure 3.9 - face
Face Details
I aimed to give Lunithrax a fierce, mysterious expression to fit its guardian-like role.
figure 3.10 - colour palette figure 3.11 - basic form with no fill
figure 3.12 - colour practices
Colour and Final touches
After completing the basic form, I added a color palette with shades of purple, black, and beige to emphasize the nocturnal theme and highlight the different elements. The contrasting colors helped bring out the individual features, such as the wings and tail patterns.
Final Look
"Lunithrax" is a mythical creature that combines both human and dragon traits, representing strength, mystery, and the enigmatic beauty of the night. With its towering horns, piercing eyes, and powerful build, Lunithrax serves as a protector of the unknown, evoking a sense of awe and intimidation.
Created using only 8 predefined shapes as part of the Vormator Challenge, Lunithrax demonstrates how simple shapes can be transformed into a detailed and complex character. With a dark and striking color palette of purples, blacks, and earthy tones, Lunithrax embodies the role of a nocturnal guardian which both majestic and fearsome.
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Reflections.
The Vormator Challenge was both an exciting and challenging experience that pushed me to think creatively within strict design limitations. One of the biggest challenges was working with only eight predefined shapes and figuring out how to combine them in innovative ways to create a unique character. I had to explore various ways of manipulating these shapes without distorting, stretching, or resizing them, which forced me to think outside the box and consider alternative approaches to forming complex elements, like the wings, horns, and tail of my character, Lunithrax.
Looking back, the Vormator Challenge was a valuable learning experience that taught me how to be resourceful and creative under constraints. It reinforced the importance of simplicity and how even a few basic shapes can be transformed into something complex and dynamic. The challenge sharpened my skills in problem-solving, particularly in figuring out how to manipulate limited resources to achieve my vision.
I also learned that working within limitations can actually enhance creativity rather than restrict it. The challenge forced me to focus on proportions, balance, and symmetry in ways I hadn’t before, which improved my overall design skills. The restriction of using only eight shapes made me appreciate the significance of each shape and how small adjustments can make a big difference in the final outcome.
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