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Illustration & Visual Narrative / Task1: Vormator Challenge & Pokemon Card

25/4/2024 - 23/5/2024(Week1-Week5)

Amber Tan Jing Jing (0372746)

Illustration & Visual Narrative / Bachelor of Design in Creative Media

Task1

TABLE OF CONTENTS

4.REFLECTIONS


LECTURES

Week1

Class was canceled, but I had studied the PDF provided by Mr Hafiz.

Character Design Basic

STYLIZED DESIGN
  • ICONIC: Stylized designed characters are often iconic that you can immediately recognize them even in black silhouttes!
  • SIMPLICITY: This is because the simplicity of the design allows viewers to digest and understand the purpose of the characters easily...
  • UNIQUE :... which in return makes them unique characters that are not only memorable, but makes an impact on the viewers!
SHAPES
Figure 1.1 Shapes we use to design a monster

Figure 1.2 Shapes

COLOUR
  • Different colours give impressions of different emotions and is easily relatable by the viewers.
Figure 1.3 Colours

Week2

This week, we are having a briefing on how to use the pen tool. We played a game to learn how the pen tool works.

 
Figure 1.4 Pen Tool Practice

Then, I studied the PDF provided by Mr Hafiz.

Chiaroscuro
  • The use of light and dark to create the illusion of three-dimensional volume on a flat surface.
  • Positive Space: Refers to subject matter or object of interest in a visual.
  • Negative Space: Refers to the filled space or background that surround subject matter or object of interest in visual.
Figure 1.5 Example of Chiaroscuro


Week3

We have an online tutorial class this week. Mr Hafiz briefed us new tools.

Figure 1.6 Tools

Then, I studied the PDF provided by Mr Hafiz.

VISUAL TYPES AND SHOTS

Visual Rules
  • Visual Narrative: The visuals in the scene complements all aspect of the narrative
  • Visual Flow: The scene has clear flow of visual that directs viewer's eyes
  • Visual Balance: The visuals in arrange to balance the composition in the scene
  • Visual Hierarchy: The visuals are arrange in such ways that directs viewer's eyes to specific details first
Different Types Of Shots
  • ESTABLISHING: Wide shots were often used to establish not just the setting, but to portray spectacle and give audiences the chance to take in all the splendor and grandeur of a location, while still giving them enough information to process what's going on.
  • BIRD'S EYEVIEW: Also known as overhead shots, is when the POV is placed directly above the subject. It's somewhere around a 90-degree angle above the scene taking place.
  • FRAME WITHIN A FRAME: A well-composed frame within a frame can fracture screen space, add depth, and create visual interest in your cinematic compositions.
  • MEDIUM SHOT: The shot is also called a three-quarters shot —which, obviously, frames three-quarters of the character. This is one of the standard camera angles used to frame a character. It’s the shot in-between a close-up and a long shot.
  • CLOSE-UP: The close-up is an intimate moment, a look into a character’s mind. It cause us to “catch”emotions, so as the restof the scene plays out, we 're already invested in the characters’ well-being. Therefore, this type of shots the should emphasize emotions and thoughts within a grander context.
  • WORM'S EYE VIEW: The close-up is an intimate moment, a look into a character’s mind. It cause us to “catch” emotions, so as the rest of the scene plays out, we’re already investedin the characters’ well-being. Therefore, this type of shots the should emphasize emotions and thoughts within a grander context.
Week4

This week, Mr Hafiz taught us how to do Chiaroscuro. We learned about light and shadow.

Figure 1.7 Chiaroscuro

Then, I studied the PDF provided by Mr Hafiz.

Perspective

ONE-POINT PERSPECTIVE
 
 
Figure 1.8 One-Point Perspective

TWO-POINT PERSPECTIVE
Figure 1.9 Two-Point Perspective

THREE-POINT PERSPECTIVE
 
Figure 1.10 Three-Point Perspective

Week5

We continued the Chiaroscuro.

Figure 1.11 Chiaroscuro2

Then, I studied the PDF provided by Mr Hafiz.

Fore, Mid and Background
  • FOREGROUND: Objects that are nearest to the viewer
  • MIDDLE-GROUND: Objects in between foreground and background
  • BACKGROUND: Objects that are the furthest away from the viewer
Figure 1.12 Example of Fore, Mid and Background

Week6

Class was canceled.

Week7

We learned about the clipping mask and compound path.

 
Figure 1.13 Clipping Mask & Compound Path

Week8

Independent learning week.

Week9

I go through the video given by Mr Hafiz.

Master ADVANCED Hierarchy

Three Components
  • Where will the viewer's eyes initially land (the focal point)?
  • Where is the likely second place the viewers eye will move to?
  • Where will the viewer's eye finally end up?
The F Pattern
  • Viewers start their journey in the top left of a design because that is a natural way that a lot of people tend to read the book left to right.
  • They move over the right and then below that most content will be aligned to the left and extend out towards the right.
Figure 1.14 The F Pattern

The Z Pattern
  • Viewers start in the top left then move over to the right but this time thay go down to the bottom left and finally over to the bottom right.
Figure 1.15 The Z Pattern

The Size
  • The most important part of the design should be the biggest on your design but there are other times when that doesn't actually apply.
  • If your design is about a product then the hero of the design will be that product itself.
Figure 1.16 Product Design
  • Try to make the hook on the design the largest and it doesn't have to be the most important thing but a lot of the time it will be.

Week10

We have an online tutorial this week. Mr Hafiz briefed us new tools. They are Pencil Tool, Envelope Distort, Blend, Intwine.

 
Figure 1.17 Pencil Tool, Envelope Distort, Blend, Intwine

Week11

We have an online tutorial this week. This is not compulsory. Mr Hafiz wants to review our works in a small group basis. He gives some feedback for me after he review my works. For the online lecture, Mr Hafiz briefed us on what we are going to do with the final project.

3 Acts Structure

Storytelling Basic
  • Central theme: The theme is what the story is really about. It’s the main idea or underlying meaning. Often, it’s the storyteller’s personal opinion on the subject matter. A story may have both a major theme and minor themes. Major Theme: An idea that is intertwined and repeated throughout the whole narrative. Minor Theme: An idea that appears more subtly, and doesn’t necessarily repeat.
  • Conflict: The conflict is what drives the story. It’s what creates tension and builds suspense, which are the elements that make a story interesting. If there’s no conflict, not only will the audience not care, but there also won’t be any compelling story to tell. Conflict is what engages an audience. It’s what keeps them white-knuckled, at the edge of their seats, waiting impatiently to see if the protagonists will overcome their obstacle.
  • Characters: A story usually includes a number of characters, each with a different role or purpose. Regardless of how many characters a story has, however, there is almost always a protagonist and antagonist. Central Characters are vital to the development of the story. The plot revolves around them. Protagonist is the main character of a story. He or she has a clear goal to accomplish or a conflict to overcome. Although protagonists don’t always need to be admirable, they must command an emotional involvement from the audience. Antagonists oppose protagonists, standing between them and their ultimate goals. The antagonist can be presented in the form of any person, place, thing, or situation that represents tremendous obstacle to the protagonist.
  • 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.
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.

Figure 1.18 3 Act Structure

Week12

Mr Hafiz continued briefed us on how to do with the final project.

Transition

1. Moment to Moment
Figure 1.19 Moment to Moment
2. Action to Action
Figure 1.20 Action to Action
3. Subject to Subject
Figure 1.21 Subject to Subject
4. Scene to Scene
Figure 1.22 Scene to Scene
5. Aspect to Aspect
Figure 1.23 Aspect to Aspect

Week13

This week is online tutorial. This is not compulsory. Those who are interested in the tutorials can sign up in the Google Docs.

Week14

There is no scheduled tutorials this week. We can send WhatsApp messages to Mr Hafiz and he will provide consultation there.

INSTRUCTIONS





Task1

1. Vormator Challenge

We are going to use the shapes below to create a monster

Figure 2.1 Shapes


Figure 2.2 Vormator Challenge (Monster)


2. Pokemon Card

I changed the color and added shadows to the monster.

Figure 2.3 Monster with color and shadows

Then, I create a background for the monster on the Pokemon card.


Figure 2.4 Pokemon Card


REFLECTIONS

My experience through this task is that I need to keep thinking about where to put the shapes. I didn't draw the sketch before I create a monster, so I just keep trying out the shapes. There were also tangles in the process. I originally wanted to create a scarier monster, but it actually a little cute? I am quiet satisfied with this monster because it looks very funny.

My observations were it's hard to imagine where the shadow is. So I can only roughly imagine. I also think about the background for a long time. It is because I don't know where it should appear. After I adjust its color, I think it should appear in the snow.

My findings were that I need to keep trying and thinking when I do this task. Overall, create a monster is very fun by just putting the shapes.












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