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Illustration and Visual Narratives -- Task 2

NAME: SOFIA CHEW
I.D: 0377902
COURSE: Illustration and Visual Narratives / Bachelor of Design (Hons) in Creative Media
GROUP: 4

Content

      1. Lectures

        1.1 Week 4 
        1.2 Week 5 
        1.3 Week 6 
      
    2. Instruction
    
    3. Task 2

        3.1 Inspiration
        3.2 Sketch / Draft
        3.3 Design Process
        3.4 New Finding
        3.5 Finalization
   
    4.Reflection

1.Lecture

1.1 Week 4

Composition 2: Perspective

The art of representing three-dimensional objects on a two-dimensional surface so as to give the right impression of their height, width, depth, and position in relation to each other

1. One-point perspective: The simplest way to create three-dimensional images is by having objects emerge from a single point on the horizon. As objects recede toward a single vanishing point, they appear smaller until they eventually disappear.

Fig 1.1.1 One-point perspective

2. Two- point perspective: Using two vanishing points on either side of the horizon allows objects and buildings in a scene to recede toward both points. This technique creates a greater sense of space and dimension, with overlapping perspective lines fanning out from the vanishing points, resulting in more dynamic views than using just one point.

Fig 1.1.2 Two-point perspective

3. Three-point perspective: This method involves two vanishing points on opposite sides of the horizon (as in two-point perspective) and an additional vanishing point either high above or below it. This setup enhances drama and scale, allowing more objects to be included in a single scene. The distance of the third vanishing point from the horizon affects the angle's intensity; a point far away creates a milder angle, while one closer to the horizon creates a more extreme perspective. This third point provides a broader range of angles, enabling viewers to "look down" into the scene.

Fig 1.1.3 Three-point perspective

4. Isometric View: For detailed concepts of individual buildings, a simple isometric view is advantageous, as it clearly shows three sides without distorting perspective or hiding details. While perspective is valuable for illustrations, it doesn’t have to be rigid; mixing different perspective methods can create dynamic visuals.

Fig 1.1.4 Isometric View


1.2 Week 5

Composition 3: Fore, Mid and Background

When composing a scene, establishing an effective sense of space is essential. Incorporating elements in the foreground, midground, and background helps communicate a clear sense of scale to the viewer.

Foreground: By using size differences and color contrast to highlight foreground as main focus

Fig 1.2.1 Foreground

2.Middle Ground: By using size differences and light/shadow contrast to highlight the main focus

Fig 1.2.2 Middle Ground

3.Background: By using shapes and light/shadow contrast to highlight the main focus

Fig 1.2.3 Background

Design Flow
A well-arranged composition using foreground, middle-ground, and background creates a sense of movement and rhythm, known as design flow. This guides the viewer's eye around the layout, influencing how they perceive the content. This principle is particularly important in interface and information design, where combining type, lines, contrast, color, and imagery effectively leads the viewer smoothly from one element to another.

Fig 1.2.4 Design Flow Example


1.3 Week 6

Story Telling Basis

Central Theme: The theme of a story is its central idea or underlying meaning, often reflecting the storyteller's personal perspective. A story can feature both a major theme and several minor themes. A major theme is a recurring idea woven throughout the entire narrative, while a minor theme is a more subtle idea that may not repeat.

Conflict: Conflict is the driving force of a story, creating tension and suspense that make it engaging. Without conflict, the audience loses interest, and the narrative lacks substance. It keeps viewers on the edge of their seats, eager to see if the protagonists will overcome their challenges.

Character: A story typically features various characters, including a protagonist and an antagonist. Central characters are essential to the plot's development, with the protagonist being the main character who strives to achieve a goal or overcome a conflict. While protagonists don’t have to be admirable, they should evoke emotional involvement from the audience. The antagonist opposes the protagonist, creating significant obstacles, and can take the form of a person, place, thing, or situation.

3 Acts Structure

1. Setup: The world in which the protagonist exists prior to the journey. The setup usually ends with the conflict being revealed.

2. Rising Tension: The series of obstacles the protagonist must overcome. Each obstacle is usually more difficult and with higher stakes than the previous one.

3. Conflict: The point of highest tension, and the major decisive turning point for the protagonist.

4. Resolution: The conflict’s conclusion. This is where the protagonist finally overcomes the conflict, learns to accept it, or is ultimately defeated by it. Regardless, this is where the
journey ends.

Fig 1.3.1 Traditional 3 Acts Structure

2. Instruction


3. Task 2

3.1 Inspiration

For this task, I choose to create a new character. My character is mainly inspired by my cat - Almond. Her eyes always capture my attention, so I wanted  my character to have the same captivating eyes. The character's tail has a unique magical ability-- it can summon fishes in the pond. I chose a pond setting because it's calm and it is also a environment that feels like a hidden world full of life, similar to how Almond feels like a mysterious creature in my own life. Inspired by Pokemon, where many characters are based on nature and animals, I thought a pond would be the perfect place for a character with magical connections to water. 

For a fun twist, I created a fish ally with a chicken-like features, This way inspired by my zodiac sign, the chicken, and the playful bond I have with my cat, who sometimes make me feel like a fish caught in a game of cat-and-mouse. 

Fig 3.1.1 Moodboard


3.2 Sketch/ Draft Composition


For this composition, I placed the character in the middle ground which can creates depth. Therefore, the viewer will be drawn from the foreground into the background. This layering also helps give the scene a more immersive feel like the viewer is actually stepping into the pond environment.

Fig 3.2.1 Sketch

Based on the book Frame Ink, for the 02 reference I planned to make my central character have an open space around it with minimal obstacle. This open space can create a positive, natural connection between the character and the environment. Therefore the viewer's attention flows smoothly between the cat and the fish.
Fig 3.2.2 Reference from Frame Ink



I feel that I could simplify some of my background details also like reducing the number of plants.


3.3 Design Process

For the chicken fish character, I wanted to make them easy to identify which mean viewer will straightaway know what is it and it's ability. So, for my chicken fish character I heavily used the chicken color scheme. I actually didn't plan to ass chicken feet for it as fish doesn't have leg. But in the pokemon world everything is possible, so I went and give it a try. Eventually I find that it is very interesting and chose to keep it as the final. For it's name, I chose it to be call Boktail. Bok is the sound of chicken as like bok bok. Tail is to emophasize that it is a fish.


Fig 3.3.1 Boktail Character


For the cat character, the tail design is very crucial as that is what makes it special, so I tried to make it as flowy as possible to look like a fish tail. As for the koi pattern, I actually only wanted to put it around it's body only, but at the end it felt odd. I ended up with adding pattern everywhere. For it's name I chose to call it Nekoi. Neko is the Japanese term for cat, adding Neko and Koi, the name Nekoi is pieced together.

Fig 3.3.2 Nekoi Character

For the first outcome, I feel that the overall colors were pretty off. The highlighted part in the background seems to have overshadowed the center character. The surrounding elements were also quite packed which lessen the attention towards the center character. The Nekoi character was somehow flat too. I also found that this task is suppose to be formatted in landscape. IN conclusion, I have to remake a better outcome.

Fig 3.3.3 first composition


For the second outcome, I re-organize some of my element as the layout is different. The overall elements were too much and I ended up getting rid of the lotus flower as the color were not harmonizing the entire outcome. As for the Boktail, I choose to add extra to emphasize Nekoi ability. The previous outcome shown Nekoi looks flat. So I tried different ways to resolve it. I find that outer glow helps in emphasizing the center character and this help solve the problem. Next was the over highlighted background, I adjusted the gradient scale for the white to be as less as possible so that Nekoi's white color could stand out. After a few adjustment, I succeeded in finalizing it.

Fig 3.3.4 Process of re-composition



Fig 3.3.5 Adjusted composition


With the finalize composition, I start working with the pokemon card. After placing the work inside, all I left is to add the description of my pokemon - Nekoi and it's power it will be using in this card which was - Fish Whistle.

Fig 3.3.6 Pokemon card

3.4 New Findings

Pucker and Bloat
For the flower element, the shapes I created with pen tools always ended up distorted so I tried to search on web to see if there is a better alternative to create a perfect flower. Turns out there is , I will need to use the pucker and bloat effect to create. It is very simple yet life changing for me. I first have to use the eclipse tool to draw a circle, after that i just need to adjust the direction of it to shape.

Blending
This is another life saver tool for me, instead of using gradient to create layers of colors. I found that I could also use blending option to blend the colors, but for this option I will need to duplicate about two flower with different colors in order t blend. It is fast and easy to use I will say.
Fig 3.4.1 Process of making flower


Furry Texture
I have found a tutorial about creating a furry effect past few days and decided to use it for this task. At first I wanted it to be used for the cat's tail but I decided not to. Instead, I used it for one of the plants. It uses the star shapes, with the help of pucker and bloat, roughen and blending. This effect is able to happen. 
Fig 3.4.2 Process of making plant



3.5 Finalization


Fig 3.5.1 Final Landscape Drawing

Fig 3.5.2 Final Pokemon Card


4. Reflection

I find that this task was very fun as we are able to be as creative as possible for the character. The overall experience in making this task was also fun although there is a lot of failure in the process, but I am still really happy with my outcome. I felt that I can actually do better for the composition but because of poor time management, I have not enough time to re-compose everything. Therefore, I hope that for the next task, this won't happen again. For the character, although I did adjustment, but it still feel flat for some reason. I also think I made a bad decision in adding to much grain effect for my artwork. I saw that pokemon cars tends to be shiny and reflective but mine is just grainy which make it seems like it has bad resolution but it's not, its just that I added too much grain effect for everything. So, for this lesson ,I learned that Less Is More. I will keep this in mind and hope that i won't repeat this mistake in my next task.












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