Illustration & Visual Narrative - Task 2: Composition

17/10/2024 - 1/11/2024 (Week 4 - Week 6) 
Shema Goldie Angwen / 0372129 

Illustration & Visual Narrative 

Bachelor of Design (Hons) in Creative Media / Taylor's University

Task 2: Composition

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TABLE OF CONTENTS

• LECTURES
• INSTRUCTIONS
• PRACTICAL
• REFLECTIONS

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LECTURES

WEEK 4

On 17 October 2024, 

Mr. Hafiz sent us some materials and here are the summary:

Tell Better Tales with Composition

Arrangement/ composition matters. Different arrangement can tell different stories. 

4 composition technique:

1. Foreground, Middleground, Background

3 separate layers placed on top of one another.

This compositional technique helps you to: create a sense of depth and highlights the different characters.

2. Symmetry

Imagine an invisible line running in the middle of the artwork, the element on the both side must be equal. 

This compositional technique helps you to: create a balanced image that is pleasing to the eye.

3. Framing

Arranging other objects around it.

The objects used to frame are usually in the foreground.

This compositional technique helps you to: Draw your attention to the character in the frame and emphasis the character. 

4. Contrast 

This compositional technique helps you to: Show a clear difference between the 2 characters and create tension. 

Links given:

100 Camera Angles, Shots and Movements in Filmmaking

The 16 Types of Camera Shots & Angles

WEEK 5

Perspective

1) One-point Perspective

• A drawing method that shows how things appear to get smaller as they get further away.
• All object recede toward this one point.

2) Two-point Perspective

• Place two vanishing points on the horizon and establish two sets of overlapping perspective lines fanning out from them.
• This network of lines allows objects to recede toward two separate points, allowing more dynamic views than one point alone.

3) Three-point Perspective

• A third vanishing point on the vertical axis gives a far broader range of angles, and really allow viewer to "look down" into the city.

4) Isometric Grid / View

• For creating detailed concepts of individual buildings, it's more beneficial to use a simple isometric view, since it allows to clearly present three sides of design without distorting perspective/ obscuring details.

5) Dynamic Application

• Perspective doesn't need to be rigid or boring, we don't need to adhere to the perspective method in a strict way.
• Mixing different perspective methods can be applied.

WEEK 6

No Lecture (Deepavali Holiday)

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INSTRUCTIONS

Task 2: Composition

Place your Vormator character into a Pokemon card composition, incorporating foreground, midground, and background elements. You may also create a new shape not bound by the vormator rules or shapes. You may also come up with a new character that does is not bound by the vormator shapes.

Tools to Use: Pathfinder, Shape Builder tool, Knife tool. You may also use other warping tools that will be introduced in the following weeks.

Steps:
1. Apply color and shadow to your Vormator character to enhance its visual appeal.
2. Design a composition that effectively uses foreground, midground, and background to tell a soft narrative about your character.
3. Create a Pokemon card layout featuring your character, including its name, powers, and ability ratings.
4. Write a brief description of your Pokemon, explaining its abilities and characteristics.

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PRACTICAL

Google Drive Link

Task 2: Composition

- Sketch - 

The concept presents the viewer's perspective as if they are looking through the gap between two trees. Here is a quick sketch that I created in GoodNotes app:

Figure 1.1: The Sketch

- Moodboard/ References - 

Figure 1.2: Source: https://images.app.goo.gl/TEQipPqiooLaG8U98

Figure 1.3: Source: https://images.app.goo.gl/Pb8AZDZSrQDskJqz5

The main aspect of my character is a hamster. The cape, inspired by Count Dracula from "Hotel Transylvania", adds a symbolize of mystery and heroism, giving the hamster a touch of bravery, while the apple that the hamster holds is inspired by Snow White. 

Figure 1.4: Character Reference

- Rationale -

Soft narrative

Once upon a time, there lived a hamster named Hammy. One day, while exploring her owner’s room, she found an old sparkling book that she was immediately attracted to it. As she flipped through the pages, she spotted a picture of a hamster with double horns, dressed-up in a flowing red cape while holding a gleaming apple. As she read the lines, she felt a warm light surrounded her. Suddenly, Hammy transformed! 

With her heart racing, Hammy changed into the hamster illustration that appeared in the book. From a gap between two trees, the viewer could see Hammy

 standing bravely in a dark night forest, surrounded by tall trees. In the background, majestic mountains rose high, their peaks touching the sky. The air was filled with mystery, but excitement bubbled inside her. It felt as if she was in a hidden world, full of mystery and adventure just waiting to be explored. No longer an ordinary hamster, she had become the brave hamster ready for a new adventures in a new world.

Framed Ink I Refer to

Night Time Template

Figure 1.5: Framed Ink

Composition Technique

I am using the foreground, middleground, and background composition.  

Figure 1.6: Composition Technique

Perspective

I am using the one point perspective for this composition. 

Figure 1.7: Perspective

- Color Palette - 

Figure 1.8: Background Color Palette

- The Process - 

The result of using Path Finder and Shape Builder Tools for the character (which I have done in week 3):

Figure 1.9: The Character (The Colored Version)

a) Background

In the first step, I used the Rectangle Tool to cover the entire page with gradient color for the background, making the upper part darker to represent the sky. Next, I added the stars one by one using the paintbrush tool. Then, I created the moon using Ellipse Tool and applied a glow effect by selecting Effect > Stylize > Outer Glow. 

Figure 1.10: Background-Making Process

As instructed to use the knife tool, I tried to cut the moon with it. 

Figure 1.11: Background-Making Process

Figure 1.12: Background-Making Process

Figure 1.13: Background-Making Process

In the second step, I created the mountains using Pen Tool and applied gradient colors, placing each mountain on a different layers (I made 4 layers of mountains). 

Figure 1.14: Background-Making Process

Next, I drew a pine tree by creating the leaves and the trunk using the Pen Tool. Then, I copied and pasted the leaves, resized them, and reflected them to form a complete tree. 

Figure 1.15: Background-Making Process

Figure 1.16: Background-Making Process

I also created another kind of tree using the same steps.

Figure 1.17: Background-Making Process

Figure 1.18: Background-Making Process 

Figure 1.19: Background-Making Process

Here is the result of the background: 

Figure 1.20: Background Result

b) Middleground

For the middleground, I used the same tool, the Pen Tool, to create the ground and trees. 

Figure 1.21: Middleground-Making Process

Figure 1.22: Middleground-Making Process

Here is the result of the middleground (compiled with background): 

Figure 1.23: Middleground Result

c) Foreground

For the foreground, I also used the Pen Tool to create the 'nearest' tree from the viewer's perspective. The concept presents the viewer's perspective as if they are looking through the gap between two trees. 

Figure 1.24: Foreground-Making Process

Then, I added some details, such as the grass. 

Figure 1.25: Foreground-Making Process

The last step, I used Photoshop software to placed my character to the background. I created a new layer labeled 'Shadow' to add realistic shadows. Using the Brush Tool, I painted the shadow in black and slightly decrease the opacity. Then, I applied a Gaussian Blur by selecting Filter > Blur > Gaussian Blur and adjusting the radius to soften the shadow. And to enhance the realism, I adjusted the brightness/contrast and hue/saturation of the 'reflection' layer by selecting Image > Adjustments and adjusting the brightness/ contrast and hue/saturation. 

Here is the result: 

Figure 1.26: The Result

- Final Outcome - 

Figure 1.27: The Result (Without Character)

Figure 1.28: The Result (With Character)

Figure 1.29: Pokemon Card

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REFLECTIONS

Experience

This task has been a valuable experience for me. I have learned a lot about Adobe Illustrator tools. Each new task has taught me something new. 

Observations

I've observed that the best way to generate new ideas is by exploring a wide range of references. Looking at various movie can also spark new ideas and unique concepts. 

Findings

I found that the best way to master Adobe Illustrator is by experimenting with the tools on my own and watching additional tutorials videos.