Illustration & Visual Narrative | Task 2 - Composition
|| 17/10/24 – 1/11/24 (Week 4 – Week 6)
|| Tee Zi Tong, 0366165
|| Illustration & Visual Narrative
|| Task 2: Composition
TABLE OF CONTENT
1. LECTURES
2. INSTRUCTIONS
3. TASK PROGRESSION
4. FEEDBACK
5. REFLECTION
6. FURTHER READING
LECTURES
Lecture 4 / Perspective
1. Perspective
- Perspective is the technique used in artistic representation of three-dimensional objects on a flat surface as to produce an optical illusion providing such depth and position.
2. Types of Perspective
- One-Point Perspective: Uses one vanishing point on the horizon. The further an object is from this point, the smaller it becomes and at one time will even vanish.
- Two-Point: Uses two vanishing points on opposite sides of the horizon in creating a better sense of space and depth within the scene.
- Three-point perspective: Create a third vanishing point where the image meets each horizon — higher or lower, great for powerful dramatic angles.
3. Isometric View
- In the isometric view, three sides of an object are seen (in this case without a perspective distortion), great for supplemental concepts of single objects.
4. Dynamic Application
- And perspective techniques can be combined in endless ways to creatively render eye-catching and powerful scenes.
Lecturer 5 / COMP 3 Fore, Mid, Background
1. Foreground Midground Background Composition
- By layering elements (foreground, midground and background) within a frame, your subject (srisen from context), will create the scale of three for us.
2. Types of Planes
- Foreground: most common directly in front of the viewer and are usually foreground because all they do is just sit there.
- Mid-Ground: Positioned between the foreground and background, frequently illuminated with light or shadow.
- Background: Show things that are more distant and should in shapes use contrast to highlight the main focus
3. Design Flow
- It is talking about the way your eye travels through a composition directing it harmoniously from one element to another, this called design flow.
- Flow, when done correctly integrates type technique, contrast and color into the design to build rhythm so that your interception is moved along quickly.
Lecturer 6 / 3 Acts Structure
1. Theme and Conflict
- Theme: The moral message or main concept in a story. This may include both a major theme — for which it is the entire point of your story — and minor themes whereby they could occasionally show up just as subtle ideas.
- Conflict: Moves the story forward by adding tension, keeping us interested to see how protagonist will get out of each situation.
2. Storytelling Basics
- Characters:
> MC: Without mess, no story arc
> Protagonist: The character that the story follows, and who has entrenched stakes in their goals or conflict of interest.
> Opposition: Creates obstacles that stand between the protagonist and their goal.
3. Three-Act Structure
- Act 1: Setup: establishes the protagonist's world and ends with introducing major conflict.
- Act 2: RISING ACTION: A chain of events that tests the lead character with bigger challenges looped one after another.
- Act 3: Resolution (also called the climax): The point at which reality sets in, where characters accomplish their ultimate goal—or fail to—and have nothing left but acceptance.
INSTRUCTIONS
In Weeks 5 and 6, I transitioned from concept to execution by enhancing my character with colors and shadows in Adobe Illustrator, bringing Moonrina to life and making her visually engaging. I developed the composition by integrating foreground, midground, and background elements, creating depth and context for my character. Using tools like Pathfinder, Shape Builder, and Knife, I crafted these layers to ensure the composition felt cohesive and dynamic. As I learned to use new tools, such as warping techniques, I refined the details and polished both the character and the background elements.
I also designed a Pokémon card layout to prominently feature Moonrina’s name, abilities, and ratings, structuring it to align with the classic Pokémon card style. To complete the narrative, I wrote a description of her abilities, powers, and backstory, ensuring it read like an authentic Pokémon card. This process allowed me to seamlessly combine creative storytelling with technical skill, resulting in a cohesive and compelling final composition.
Final Composition
Reflecting on this assignment, I realize how much I have grown as a designer and storyteller. The process of creating Moonrina, my Vormator character inspired by Primarina, challenged me to think critically about character development and visual composition. From the initial sketches to the final Pokémon card layout, each stage required careful consideration of design principles and the use of various Adobe Illustrator tools. This hands-on experience with the software not only improved my technical skills but also deepened my understanding of how color, form, and narrative can work together to create a captivating visual story.
The most rewarding part of this project was bringing Moonrina to life in a vibrant underwater setting. I enjoyed experimenting with a playful color palette and incorporating whimsical details like pearl-like accessories and floating stars. Crafting the background with coral structures and marine elements allowed me to create a cohesive environment that enhances the character's charm. Writing the character description added another layer to the project, as it required me to articulate her personality and abilities in a way that aligns with the Pokémon world. Overall, this assignment reinforced the importance of blending creativity with technical proficiency and taught me valuable lessons about character design and composition that I will carry into future projects.
FURTHER READINGS
In this assignment, I drew inspiration from the book "Framed Ink" by Marco Matué Mastre, which emphasizes the importance of composition and visual storytelling in illustration. The concepts presented in the book guided my approach to designing Moonrina and her underwater environment. I focused on how to effectively use foreground, midground, and background elements to create depth and narrative within the composition.
Mastre’s insights on framing and the placement of characters within a scene helped me think critically about how Moonrina interacts with her surroundings. By applying these principles, I was able to create a more immersive and engaging composition that not only highlights the character but also enhances the overall story I wanted to convey. The emphasis on visual balance and clarity in "Framed Ink" encouraged me to refine my designs, ensuring that each element contributed to the magical atmosphere of Moonrina's world while maintaining a playful and inviting aesthetic. This book has profoundly influenced my understanding of composition and storytelling, allowing me to create a more cohesive and captivating final piece.
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