Illustration and Visual Narrative: Full Compilation
Week 1 29/9/2023 - Week 15 1/1/2024
ALTAIFI, LEEN MAAN A (0367698)
Bachelor of Design (Hons) in Creative Media, Taylor's University
Illustration and Visual Narrative
Table of Content
1. Lectures
2. Instructions
- Assignment 1: Editorial Illustration
- Final Assignment: Self Titled
3. Feedback
1. Lectures
It was a brief introduction to the module and we were given an exercise to practice using the pen tool before going into Adobe software since not everyone has received access to it.
After practicing and getting the hang of it, I decided to officially design my character for the final design. It was both challenging and fun thinking of ways to construct designs from limited shapes; especially when it came to finding out if it was even possible to achieve the same design as the sketch.
Exercise 1: Pear (Week 3)
Exercise 2: Chiaroscuro (Week 4)
Fig. 1.0: Pen Tool Practice
Week 2: (4/10/2023)
Once everyone received access to adobe we have began our tasks in Adobe Illustrator. A lecture and tutorial class were conducted; we were given a step by step tutorial on the different ways to trace the shapes: varying from free-handing it with the pen tool, or the rectangular shape as a base and then modifying it by using the selection tool. We were asked to draw our first task using the shapes we traced.
Week 3: (11/10/2023)
For this class, we learned to use a few more tools that are more dynamic; such as the pencil tool, pathfinder tool, and how to divide and slice shapes, and the recolorization tool to enhance our illustrations.
Week 4: (18/10/2023)
This week's class was about different blending modes in adobe illustrator, arranging layers, and clipping masks. In Illustrator, there are six blending modes: Normal, Darken, Lighten, Contrast, Inversion, and Component. Each of these modes works a little differently
Week 5: (25/10/2023)
Lecturer was on emergency leave, therefore we did not take a class this week.
Week 6: (1/11/2023)
We were given a briefing about our first assignment: Assignment 1 Editorial Illustration (Decisive Moment).
2. Instructions & Tasks
Task 1: Vormator (Week 2-6):
The aim of project is to give each student the chance to show their ability to create a stunning piece with limited means. Each person will get the exact same set of shapes. With these shapes you are challenged to create your own unique design, within the limitations provided in the Rulebook. Designers are thus challenged to create a unique piece within a strict set of rules. It all comes down to pure skills and creativity in this project.
In order to familiarize ourselves with the tools first, we were asked to trace the set of shapes from the provided image.
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| Fig. 2.0: Tracing the Shapes |
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| Fig. 2.1: Silhouette Design 1 |
Afterwards, we were asked to create our own silhouette design limited to only these shapes without distorting the proportions. At this point, I was just getting started to the challenge and figuring out ways that this could be done. So I played around and practiced.
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| Fig. 2.2: Silhouette Design 2 |
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| Fig. 2.3: Character Designing and Coloring The first step was to shape the silhouette. The details did not matter, all I needed to achieve was the overall shape of the character. Below, are all the dismantled shapes used to make up the silhouette, the silhouette in full black, and the line-art of the shapes before and after adding the character details. Adding the character details required more shapes and more accuracy; like the face, clothes, and hands. Layering was also important in this phase; paying attention to the order of what should be in front and behind in order for the illusion of making more dynamic shapes out of the simple ones could work. |
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| Fig. 2.4: Final Silhouette Design |
Since the design was made out of overlapping shapes, merging the shapes was necessary for the coloring and shading process. I joined the shapes that had the same fill colors using "Shift + M" and that made coloring using the gradient tool more smooth. After that, I added texture to some parts of the character by using clipping masks and changing the blending mode to "Multiply" over the existing shading.
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| Fig. 2.5: Adding Shading and Textures, 19/10/2023 |
I illustrated a background for the character so I can put it in the Pokemon card template. it's a simple background made mostly by shapes and the gradient tool. I chose those red colors to compliment the character's eyes and the dark energy it encapsulates.
I added a ripple effect to the background for more depth and atmosphere, along with the smoke shapes I drew with the pencil tool and turned the opacity down. To achieve the glow effect of the moon, I copied the circle layer and blurred it so it seems as if it it's glowing.
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| Fig. 2.6: Vormator Final Character Design 31/10/2023 |
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| Fig. 2.7: Pokemon Card Final Design 31/10/2023 |
Fig. 2.7: Full Character Design Submission 31/10/2023
Light and Shadows: Drawing in chiaroscuro Using shapes, establishing light and dark giving it weight.
The lines we draw in an average illustration do not exist in reality, they are only a means for us to define on paper the space that the objects depicted by such lines occupy. But since the perception of such objects might change dramatically depending mainly on lighting choices, are these lines that important after all? Obviously we will need a good knowledge of traditional line drawing before we get into further concepts like the ones we are talking about now. Training in this discipline will allow us to place every item (objects as well as masses of light and dark) where and how we want and need them on our drawing surface.
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| Fig. 2.3: Light and Shadows Exercise |
Using tools we learned in previous exercises, we are supposed to make a chiaroscuro image by selecting, tracing, and coloring.
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| Fig. 2.4: Blending Mode and Clipping Path Exercise Progress |
Using the clipping mask here was quite the challenge; because the paths and the shapes are too complicated, the image clipped will only be in one of the shapes instead of all. So the solution was to select it all and turn into a compound path, which makes it easier for illustrator to read as one singular path. Thus, the clipping mask will be applied to all of the shapes.
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| Fig. 2.5: Blending Mode and Clipping Path Exercise Final |
Assignment 1: Editorial Illustration (Week 7-9)
For this assignment, you must find a related article/story that discuss Urban Legends. The art style must be derived from Art Deco. You will create a minimalist editorial illustration based on an urban legend of your choice using Adobe Illustrator. Your illustration will be designed for a digital media publication and should include minor animations to enhance engagement.
Research:
The urban legend I have eventually chosen is the Red Room Curse; it is an internet-focused story that starts with an ominous pop-up. The pop-up features a red screen with black text that reads, “Do you like the red room?,” which is accompanied by a sinister pre-recorded voice asking the same question. No matter how many times you close the pop-up, it will continue to appear until the voice has finished its question. Afterward, your entire screen will turn red and become flooded with past victims’ names. No one knows what happens next, but the receivers of the pop-up are always found dead with their blood painting the walls red, creating the titular red room. Once you receive the pop-up, it is impossible to escape your fate.
Introduction/Setup: Introduce the protagonist, a curious individual who becomes aware of the mysterious "Red Room Curse." Establish the urban legend surrounding the red room, creating an atmosphere of intrigue and fear. The protagonist begins researching and hearing ominous stories about the curse.
Fig. 2.6: Red Room Curse Pop-up Rising Action: The protagonist's curiosity intensifies, leading them to explore the origins and details of the red room curse. The red room is described as an enigmatic and forbidden place, heightening the tension.
Climax/Turning Point (Illustration Focus): The climatic turning event occurs when the protagonist, closes the pop-up tab. The room is a visually stunning yet foreboding space, setting the stage for the revelation. After closing pop-up tab, the protagonist experiences the immediate consequences of their actions. The curse's power becomes evident, and before they know it, the protagonist lies dead on their bed room floor with blood all over the walls.
Resolution/Conclusion: The resolution reveals the aftermath of the protagonist's encounter with the curse. And the room is left with ambiguity or an open-ended conclusion to maintain the mystery surrounding the red room curse.
Climatic Turning Point Illustration:
Setting: The room should be a stark, dimly lit, Art Deco-styled room with deep red walls, ornate details, and eerie lighting. The room should feel claustrophobic and foreboding.
Protagonist: Position the protagonist corpse on the floor, with blood flowing out of their head.
Curse Source: Highlight the object or element that represents the "Red Room Curse." This could be a cursed painting, an artifact, or an otherworldly entity. It should emanate an ominous red glow or aura. In this case, it is the computer screen emitting light on the corpse.
Composition: Use diagonal lines and strong geometric shapes to create a sense of tension and unease, which is characteristic of the Art Deco style. Emphasize symmetry and balance, but introduce elements that are slightly off-kilter to heighten the eerie atmosphere.
Lighting: Play with dramatic, moody lighting. Create strong contrasts between light and shadow to amplify the sense of fear and revelation. The red glow from the curse source should be the primary source of light, casting eerie reflections and shadows.
Details: Incorporate intricate Art Deco patterns and design elements into the room's furnishings and decor, reinforcing the style. These details should draw the viewer's eye towards the cursed object
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Color Palette: Art Deco often features bold and contrasting colors. Red, black, and deep greens can be prominent in your color palette, with a focus on red to symbolize the curse.
Sketches/ Ideation:
Before settling with the Red Room Curse urban legend, I brainstormed ideas with other urban legends for more options to choose which one's composition and portrayal of the narrative is best.
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The turning point I illustrated was when everyone pans down to her feet and they find the two hands grabbing the girl's ankles.
This idea was inspired by mangaka horror artist Junji Ito. The legend was one of the stories he has drawn in his manga series "The Town without Streets", which covers themes like invasion of privacy, paranoia, and girlhood. The idea was to illustrate one of the climatic turn of events, when the protagonist's parents would drill holes through her bedroom walls to spy on her. But this was more of a fictional narrative than an urban legend, therefore I did not proceed with this idea.
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| Fig. 2.8: Idea 2 |
Afterwards, I start progressing on my final choice, the Red Room Curse. I initiated my progress by sketching out the composition on my sketchbook.
Digitizing:
I shifted the movement of the blood slightly frame by frame whilst overlapping the layers to help with the smoothness.
After finishing all the frames on illustrator, I exported it to photoshop and used the animation timeline.
Assignment 2: Digital Triptych (Week 10-11)
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| Fig. 2.9: Progress of Red Room Curse 1, Sketches |
I used a bunch of references to aid me in finalizing the sketch so I could start digitizing it on adobe illustrator. Such as the interior design of the room (small Japanese rooms specifically), the computer on the desk, the colors, the mood, and the art style to prepare me for the next stage.
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| Fig. 2.10: Progress of Red Room Curse 2, Finalizing Composition |
Digitizing:
Moving on to the next stage, I use my final sketch as a base for illustrating using the pen and pencil tool, simply starting on the line art first. I used a gun shot blood splatter reference image for the blood on the wall.
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| Fig. 2.12: Progress of Red Room Curse 4 |
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| Fig. 2.11: Progress of Red Room Curse 3 |
I fill in the shapes with shades of grey to get an idea of the overall lights and shadows. Then I cover the whole drawing using the blending mode overlay to get the ominous red lighting across the whole room.
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| Fig. 2.14: Progress of Red Room Curse 6 |
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| Fig. 2.13: Progress of Red Room Curse 5 |
After blocking in fill colors of grey shades to the shapes, I added gradient and grain texture to add depth and art deco style onto the illustration. After consulting with the lecturer, however, I was advised to fix the angle of the protagonist's body to become more aligned with the perspective, and to fix some other errors. Therefore, I resketched the protagonist and positioned her lower so that her head doesn't become in tangent with the end of the wall.
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| Fig. 2.15: Illustration Draft 1 |
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| Fig. 2.16: Updated Sketch |
Final Illustration:
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| Fig. 2.17: Final Illustration |
Animation:
The minor animation I decided to incorporate was the blood dripping from the wall. I used Adobe Illustrator to draw the frames.
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| Fig. 2.18: Animation Process 1 |
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| Fig. 2.19: Animation Process 2 |
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| Fig. 2.20: Animation Process 3 |
Final Gif Animation:
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| Fig. 2.21: Final Animation |
The objective of this assignment is to apply Scott McCloud's theory on transitions to create a digital triptych, comprising three panels: one before, one during (climactic turning point), and one after a significant event. Each panel will represent a different transition type from McCloud's theory.
This assignment is a continuation of the editorial illustration assignment; using that previous illustration as a climatic turning point, we have to draw 2 more illustrations before and after the climax, and there must be a flow and consistency between the panels.
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I drew out the original sketch on procreate, then I fully fleshed out the illustrations on adobe illustrator using the same methods we have been using throughout all our assignments; pen tool, path divider, gradients, grain textures...etc.
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Final Triptych Illustrations:
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I chose the transition type scene-to-scene because I felt I needed to add more context on what happened during the climatic turning point, and to further illustrate the events of the urban legend, the Red Room. Also, the sequential nature of it is like of a graphic novel, which I personally gravitate towards.
Scene 1:
In scene 1, before the climatic event, we are faced with the protagonist's back as she stares at her monitor. As she is covering most of the screen, we are exposed to only the edges of it. She has encountered the infamous pop-up curse "Do you like the red room?", unknowing the devastating ending she will face. For those who know about the curse, they will recognize the pop-up just at a glance. The words "Do you...room?" are visible, but "...like the red..." are covered by the protagonist, allowing room for suspense for those who do not know about the curse.
The light source coming from the screen since it is the main focal point in this panel, along with the looming shadows around the edges signifying the impending doom that is yet to occur.
Scene 2:
In scene 2, the climatic turning event occurs when the protagonist closes the pop-up tab. The room is a visually stunning yet a stark, dimly lit, Art Deco-styled room with deep red walls, eerie lighting, and feels claustrophobic and foreboding. After closing pop-up tab, the protagonist experiences the immediate consequences of their actions. The curse's power becomes evident, and before they know it, the protagonist lies dead on their bed room floor with blood all over the walls. The strong contrasts between light and shadow is used to amplify the sense of fear and revelation. The red glow from the curse source is the primary source of light, casting eerie reflections and shadows.
Scene 3:
In scene 3, after the climatic event, the protagonist's family member walks in her room only to find her deceased body lying on the floor. As it is a common theme in the panels, only silhouettes are shown. However, the exception here are the eyes of the family member, as a key but subtle indication to his emotional expression: shock. The composition of this panel is to dramatize the reveal of the corpse to the family member; having the source of light coming from the outside through the door, creating the silhouette and its shadow, and having the legs of the corpse at the bottom of the panel.
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Final Project: Self Titled (Week 10-14)
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| Fig. 1.12: Final Self-titled Poster |
Artist Statement:
I have always been a closed, reserved person, and I used art as the only way to express myself, but I have been trying to change that. This piece represents my willingness to change, to become vulnerable, and to show parts of myself to people. Through my work, I hope to evoke emotion and inspire others to do the same.
Final Video:
Video Links:
3. Feedback
Editorial Illustration Assignment Feedback:
The protagonist's head was in line with the bottom line of the wall. It is better to avoid tangents like that. And the body looks like it was standing up, the perspective and angle needed work. However, it is in deco art style so that's positive.
Ensure consistency between the panels, including through 'camera' angles, art style, colors, and methods.
Self-titled Poster Feedback:
The photo quality needs to be improved or be more stylized, and the poster can use some more vector illustrations. The type needs to be a caption or a quote, one word is not enough, or at least make the word bigger and bolder.
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