8.26.2021 - 9.16.2021 (Week 1 - Week 4)
Audrey Gracia Djohari / 0348120
Illustration & Visual Narrative
Bachelor of Design (Hons) in Creative Media / Taylor’s University
Task 1: Exercises
Audrey Gracia Djohari / 0348120
Illustration & Visual Narrative
Bachelor of Design (Hons) in Creative Media / Taylor’s University
Task 1: Exercises
LECTURES
WEEK 1 : Introduction
Today (26th August 2021) was the first ever IVN class with Miss Noranis
Ismail and Miss Jennifer Teh. Miss Noranis started the class with the
Introduction to the module.
Miss Noranis gave us our first exercise: Vormator Challenge. Students must create a unique character by using a limited set of shapes. And this character will then be assembled into a trading card game. For this week, we only had to make a sketch for our vormator character.
She also briefed us about all of the upcoming tasks, and here are the things I got to note:
- Task 1: Vormator Challenge (Making Playing Cards & 1 Character Design)
- Task 2: Movie Scene Minimalist Poster (Animating Poster)
- Task 3: Webtoon (Theme: Horror, Creepy Story)
- Final Task : Animated Comic (Duration: Less than 3 minutes)
WEEK 2: Introduction to Character Design
Miss Noranis asked the students what our favorite characters are. Mine is
Baymax from Big Hero 6. I like how Baymax is so simple and pure. He's made
out of balloon and the shape really tells his soft personality.
Today we learned about the Principles of Character Design. First of all,
Miss Noranis said that we had to make sure the character we're making is
appealing to the target market. Secondly, stylized the character, make it
iconic, easily created, and profitable.
- Principles of Character Design:
1. Shapes, shapes, shapes
Shapes define the character's silhouette. This is what sets the iconic look and makes the character appealing.
One of the best iconic character example is Monster, Inc. The two main characters show a distinct contrast in size. The comparison makes them easy to remember. Shapes can also show the characters' traits and stability. If we look more thoroughly, many antagonists have unsettling appearance while protagonists often have a stable shapes.
Figure 1.0.0: Monster, Inc. (Shapes Study), 09.02.2021
2. Colour
Colours have the qualities that can cause certain emotions to people. We can tell if the character is a protagonist or an antagonist just from their hair colour. It plays an important role at determining who are the heroes and villains.
Tips: Use Adobe Color to determine a character's color scheme
3. Emphasis & Contrast
A good character design is when you pick one visual element in a character and exaggerate it. Sometimes picking a cultural element and adding it to a design makes it uniquely authentic (e.g. Disney's Hercules).
Figure 1.0.1: Disney's Hercules (Emphasis & Contrast Study), 09.02.2021
4. Harmony
All shapes, lines, colour, motifs, patterns must be put together in a tasteful manner. Every element used in a design must work together like they compliment each other. A balance of visual elements has a Visual Hierarchy. Think about what the first visual elements people will look at in your design. In conclusion, it is important to think how everything melts together when making characters.
5. Expressions/Poses
Behavior, quirks and personalities that are visually shown are what makes the characters win the heart of the audience.
Figure 1.0.2: Expressions/Poses Example, 09.02.2021
WEEK 3: Composition (1)
1. Types of Shots/Composition
Figure 1.1.0: Types of Shots/Composition, , 09.09.2021
2. A Balanced Distribution of Positive vs. Negative Spaces
- Chiaroscuro: This is an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modeling of the subjects depicted.
- Positive space refers to areas where the subject is positioned. Negative space is the area surrounding the subject. Or in other words, positive space is the main focus area whilst negative space is the background.
- Find a balance of positives and negatives,
- Visual Hierarchy is important
- Determine the Mood, Rythm/Movement, Visual Elements that tell/stage of a story.
Figure 1.1.1: Positive and Negative Space, 09.09.2021
3. Take Aways
- There is no right or wrong in Composition, only bad and tasteful composition.
- Observation is Key.
4. The Rule of Thirds
Composition essentially refers to how an image is put together. And
when it comes to composition, there are tricks that can take an art to
the next level and make a piece really grab the audience’s attention.
The method states that if an image is divided into nine equal parts
(three vertical and three horizontal), the image will be more
interesting and pleasing if the visual areas of interest are placed in
alignment with these dividing lines and intersections. Since people view
images from top to bottom, left to right, the top left
intersection is considered primary and the bottom right, secondary.
Figure 1.1.2: The Rule of Thirds, 09.09.2021
5. Background, Midground, and Foreground
When composing a scene, creating an effective sense of the space is very
important. Together with some useful techniques mentioned in this book
(such as perspective), illustrating elements of foreground (close to the
viewer), midground, and background (far away) within your image will
immediately communicate a sense of scale to the viewer.
- Foreground: The subject matter.
- Midground: The subject matter.
- Background: The world setting of the subject matter inhabiting.
Foreground, midground and background play a huge role in creating an
environment art. Keeping these levels in mind when designing is an easy
way to establish depth and encourage strong compositonal planning.
7. Contrast
- Contrast means using a dramatic shift or change of aspects of the visuals (within the same image) to guide the viewer’s eyes through the piece.
- An image without contrast often looks either boring or confusing.
- Using bold changes between dark and light in a few calculated areas of the image helps the viewer pay attention to that specific area and helps control the way the viewer’s eyes move through the image. This works particularly well with light and dark but can also be applied to colour, scale, texture, and more.
8. Detail
- A high amount of detail can be interesting, but sometimes a lot of detail with a lack of contrast can become confusing to the eye and cause viewers to lose interest.
- It works best to pick between one to three areas of interest and freely add detail to those areas.
- We can also use of 'depth' of field in cinematography, where the focal points are in sharp detail and everything else is slightly blurred.
9. Symmetry vs Asymmetry
- To make an artwork immediately looks aesthetically pleasing to people, keep things fairly balanced and predictable.
- Making an image asymmetrical (unbalanced) can also be a useful way to add drama. The sense of unease a viewer gets by seeing something off center or on an uncomfortable angle can be an effective way to elicit your audience’s discomfort, fear, or alarm.
WEEK 4: Composition (2) - Perspectives
Perspective is the method of representing these aspects in your illustrations. It can create a sense of realism or it can be manipulated to make your images more dynamic and interesting. Perspective is to create depth and illusion.
- Types of Perspective
- 1 point
- 2 point
- 3 point
- 4-5 points (fisheye)
Figure 1.2.0: Perspectives, 09.09.2021
Parallax Effect: We can also use layers to depict depth, it is called
Parallax Effect. Parallax is a displacement or difference in the apparent
position of an object viewed along two different lines of sight, and is
measured by the angle or semi-angle of inclination between those two
lines.
1. One-Point Perspective
- This is the most simple method of producing three-dimensional images entails drawing your objects emerging from a single point on the horizon.
Figure 1.2.1: One-Point Perspective, 09.17.2021
- The red point (the red dot in the middle where you draw your objects emerging from) is also referred to as the vanishing point. As images get closer to the vanishing point the smaller they become, until they become so small they actually vanish completely.
- To set up a grid to use as perspective reference, draw the horizon line, then place the vanishing point. Any straight lines that is drawn emerging out from the vanishing point will provide correct perspective. It helps to use these lines as a reference as you draw a scene.
2. Two-Point Perspective
- In two-point perspective, there are vanishing points on either side of the horizon, and the objects and buildings within the scene are drawn to both of these vanishing points.
- This method of perspective help creating a greater sense of space in a scene and helps give objects more of a sense of dimension and place.
- Scenes using two-point perspective tend to be more interesting when there is a variety of different-sized objects and buildings; this gives the scene scope and asymmetrical interest.
Figure 1.2.2: Two-Point Perspective, 09.17.2021
3. Three-Point Perspective
- Three-point perspective usually consists of two vanishing points on opposite sides of a horizon (as in two-point perspective), but with the addition of another vanishing point high above or below the horizon. This is most useful to achieve a sense of drama and scale, or to show more objects in a single scene.
Figure 1.2.3: Three-Point Perspective, 09.17.2021
- The scene above demonstrates how three-point perspective can create a sense of looking down. The same effect in reverse (looking up) is created with the third vanishing point placed high above the horizon.
- If the vanishing point (which is not connected to the horizon) is a great distance from the horizon, the intensity of the angle will be less than if it were placed close to the horizon (which creates a more extreme viewing angle).
4. Introducing Figures
While making characters in a scene, it is very useful to rough in guide
boxes to represent the basic spacial size of characters and organic
objects. Use cubes first when laying out the scene, then simply fill in
those guide areas later on.
Drawing a dramatic scene with many objects, buildings, and characters of
varying sizes may at first seem like a difficult task. While it does take
practice to master the application of these methods, even the most
ambitious of drawings and scenes can be made much easier to produce when
starting with very simple shapes and geometry.
5. Dynamic Application
Figure 1.2.4: Dynamic Application, 09.17.2021
In a dynamic scene, designers don’t need to adhere to the
perspective method in a strict way. For example, in the image
above, there are two separate uses of perspective methods — the
crashing spaceship and the planet below it. The planet is drawn
using curved perspective lines to create a sense of drama and to
create the look of a different camera lens that the viewer is
looking through. The ship is on such a strange angle that it has
its own horizon vanishing points, creating a sense of tension, as
if two worlds are colliding.
INSTRUCTIONS
Submission deadline: Friday, 24 September 2021 by 11.59PM
Upload these files into your Google Drive Folder under Task 1 [Refer to the folder arrangement in Module details]. Also, please ensure that the details you shared in the Contact Sheet is up to date.
- Exercise 1: Vormator Challenge Final *.jpg for character design [600 x 600 pix]
- Exercise 2: Game Card Final *.jpg of the character + background + card composite [Tarot size 897 x 1479 pix]
- Blog update for Task 1 in your e-portfolio
PRACTICAL
Google Drive Link:
https://drive.google.com/drive/u/1/folders/1GhRZpCLfX8bsOJMRk9Caai-HPtvkUlLK
- Exercise 1/ Vormator Challenge Character -
Instruction
Figure 2.0.0: Vormator Challenge in Instruction in PDF
WEEK 1:
Visual Research
Figure 2.0.1: Examples of Vormator Challenge Artwork, 08.26.2021
Idea Exploration & Process
On this Vormator Challenge Task, I had to make a character using only these given shapes using Adobe Illustrator. As the first step, I tried to form anything with these shapes using my imagination. And then, I sketched it on paper to put my ideas together.
Figure 2.0.2: Vormator Challenge Shapes, 08.26.2021
Figure 2.0.3: Vormator Character Sketch, 09.01.2021
I digitized the sketch into ProCreate App on iPad to help me to
determine the color palette before creating the vormator character in
Adobe Illustrator.
Figure 2.0.4: Sketch on ProCreate, 09.01.2021
WEEK 2:
Digitization in Adobe Illustrator
This was my first time using Adobe Illustrator, and I did this while watching Miss Jennifer's Tutorial Video which I found very helpful. So the first thing I did was creating a new canvas with 600px X 600px. Then, I placed the vormator shapes on my canvas and I use Pen Tool to recreate all the vormator shapes in different layer. And then I copied and pasted them until I had enough shapes to make my character.
Figure 2.0.5: Using Pen Tool to Replicate the Shapes, 09.08.2021
Figure 2.0.6: Replicated Shapes, 09.08.2021
I also placed the digital sketch I made as a reference. I started
by making his body first by using two badge shapes with different
shades of blue. The purpose was to make the body a bit more 3D and
not too plain. I used the Eyedropper Tool to take the colours from the reference
picture.
Figure 2.0.7: Making the Figure, 09.08.2021
Next, I made his eyes, beak, feet and wing. Overall, I only used 4
shapes of the Vormator, those were: the Drop, the Chevron, the Wurst
and the Badge. And the last figure I made were the lightning strikes.
I made it only by using the Chevron shapes. I rotated some of them and
played a trick with the colours to make the lightning shapes. The
details can be seen in Figure 3.6.
Figure 2.0.8: Making the Figure, 09.08.2021
Figure 2.0.9: Outcome, 09.08.2021
I was not satisfied enough with the first outcome, I did love the
shape and proportion of the bird, however, I felt like I I was
missing something about the colours. So I tried to learn using
gradient by myself and tried to make Elechick more alive. I added
some orange gradient for his beak and feet. Using gradient was quite
tricky and confusing, but I was happy with the final outcome.
Final Outcome
"Elechick, also known as Elec (that's how his friends often call him) is no ordinary bird. After accidentally being electrocuted by a power pole and surprisingly survives the near-death experience, Elec gained an ability that no bird has ever possessed: Generate Electrostatic Energy. Later, he becomes one of the Featherangers original squad to protect the GreatNest."Power: Electric manipulation, Super strength and lightning speed when fully charge– Audrey Gracia (Creator)
Figure 2.0.11: Vormator Character Final in PDF, 09.08.2021
- Exercise 2 / Game Card Design -
Instruction
Figure 2.1.0: Game Card in Instruction in PDF
WEEK 3:
Visual Research
Figure 2.1.1: Game Card Visual Research, Pinterest, 09.15.2021
The figures above are some game card designs that I found in Pinterest.
I like how first design which portrays superheroes has an analogous yet
eye-catching design. It has a good proportion and typography so that
players can read many information easily.
From the second Figure, I noticed how the backgrounds work harmoniously
with the characters without. Even though the backgrounds are pretty
complicated and colorful, they somehow don't steal the spotlight from
the characters. The backgrounds show depth and the vast world of the
characters' universe even though it only has a relatively small space.
The third Figure has the most complicated characters, but it shows more
a minimalistic design. For me, it really emphasizes the complicated
characters in a simple background very well. The text placement are also
neat and clear. This particular design is simple yet able to convey
every information needed in the card.
Idea Exploration
I initially drew 3 sketches of the game card. I personally liked the idea of the first version where the eggs pop out and is out of the frame. However, if I went with it i would end up submitting the wrong card size. So I went to digitize the third version (the sketch with the dark border).
Figure 2.1.2: Game Card Sketch, 09.15.2021
Next, I searched for the color scheme using Adobe Color. I really was
tempted to add more colors other than the colors on Elechick, but I
thought it would be best to just use those colors only as they were
already harmonious and blended well. The blue shades are the major
color, while the yellow and white shades are the bright complements.
Figure 2.1.3: Color Scheme, 09.15.2021
Digitization in Adobe Illustrator
I created the eggs and other elements using Pen Tool. I cut the egg
cracks using 'Knife' and and I applied the Masking method (Command + 7)
for the Egg dots to fit the Egg form. I did the same thing to make the
background.
Figure 2.1.4: Creating the Egg Crack, 09.15.2021
Figure 2.1.5: Making the Clouds, 09.15.2021
I used 'Gradient and 'Sponge' for the elements' rough texture. The
purpose was to make the eggs and borders more eye-catching and alive.
The texture really added impact to the elements.
Figure 2.1.6: Using Sponge, 09.15.2021
As I mentioned before, I initially wanted to go with the first
sketch where the eggs pop out. However, when I did it in Adobe
Illustrator, the shape of the back part was just not right. Also, I
thought that I would not be able to meet the pixel size requirement
for this exercise which is 897 x 1479 pixels. So, I eventually changed it to the third
sketch design.
Figure 2.1.7: First Digitization of the Game Card, 09.15.2021
I changed the eggs' position so they fit the card's frame. I also
tried using the Rule of Thirds as a finishing touch to adjust the
position of the elements so it creates a better composition in the
final outcome. I simply adjusted the description bubbles under
Elechick by following the vertical lines. I also adjusted the
Elechick's circle to fit the 6 squares at the top. For the card's
front side, I adjusted the egg and moved it to the middle of the card.
Figure 2.1.8: Applying the Rule of Thirds, 09.15.2021
WEEK 4:
Layers
I used 5 different layers for this exercise:
- The first and top layer is for the Type, where I put the title, card number and description.
- The second layer is for the vormator character Elechick, which is the foreground of the card (besides the type). Elechick is the focal point of the card so I put it on the second top.
- The third layer is for the midground, where I designed the eggs. In the back of the card, I made a mysterious egg with a question mark.
- And for the front of the card, I made the egg cracked into two revealing the Character: Elechick. The fourth layer is for the border.
- Lastly, the fifth layer at the back is for the background where I made the clouds and mountains as the habitat of Elechick.
Figure 2.1.9: Layers, 09.22.2021
Figure 2.1.10: Layer #1, Type, 09.22.2021
Figure 2.1.11: Layer #2, Elechick, 09.22.2021
Figure 2.1.12: Layer #3, Eggs, 09.22.2021
Figure 2.1.13: Layer #4, Broder, 09.22.2021
Figure 2.1.14: Layer #5, Background, 09.22.2021
Figure 2.1.15: Game Card Front (Submission), 09.22.2021
Figure 2.1.16: Game Card Back (Submission), 09.22.2021
Figure 2.1.17: Game Card Final (Submission), 09.22.2021
Figure 2.1.18: Game Card Final in PDF, 09.22.2021
FEEDBACK
WEEK 2: Vormator Challenge Sketch
General Feedback
Make sure to make the Characters unique. And start practicing Adobe
Illlustrator.
Specific Feedback
Miss Noranis said my work was nicely done. All I had to do was redo it
on Adobe Illustrator. "It's so nice! It's already done, but you
have to do this in Illustrator. You're done here, very nicely done, no
comment." –Miss Noranis
WEEK 3:
Specific Feedback
Miss Noranis said I should better use the gradient one for the playing
card. And she asked me to change the character's name into a shorter
one. I changed it from "Electrichick" into "Elechick". She also said I
could continue to start making the playing card.
REFLECTION
Experience
The first weeks of IVN was a bit overwhelming because I've never used
Adobe Illustrator before. Thankfully, I could go back and watch the
practical videos which were very clear and showed helpful step by steps.
I also felt happy when Miss Noranis and Miss Jennifer liked my Vormator
Character, so it was a satisfaction for me. Other than that, I really
like the exercises as they allowed me to explore my imagination creating
my own character and game card. I was eventually quite comfortable using
Adobe Illustrator after I finished my Vormator Character, I've mastered
the basic tools and I could do masking and gradient, so I didn't have as
much problem when I did my Game Card Design.
Observations
I observed that Adobe Illustrator is something I have to learn fast,
because it will be used in many classes. And I realized that making a
character design is all about uniqueness and exploration, and It's
important to do observations on movie characters or any other characters
whenever we can to widen our perspective and views. Lastly, I observed
that I these exercises have unlocked my Illustrator skill which made me
very happy, I realized that every exercise I did always taught me
something new.
Findings
I found that Adobe Illustrator is something I have to explore myself.
And the best way to master it is by trying new tools by myself and
watching the tutorial and extra Youtube videos. I must do my own
research and try to use it more often to get used to it. Overall, this
task is a good experience, I really learned a lot about Adobe
Illustrator and I enjoyed using limited elements to create an artwork,
it's a whole new challenge.
FURTHER READING
Figure 3.0.0: Creative Character Design by Bryan Tillman
Reference:
Tillman, B. (2015) Creative character design. Focal Press, Taylor
& Francis, New York & London.- What Makes for Good Character Design?
1. Archetypes
Archetypes represents the personality and character traits that humans
identify. It is the personal story of each character that makes for good
character development.
2. Story
Story is the the most important thing to make a good character.
Developing the character's back-story before starting to draw will allow
designer to have a stronger and more well-rounded character design.
Better to write the story BEFORE making the character, so that the
design don't keep changing. The character is always in service to the
story.
3. Being Original
Sometimes it's hard to be original because everyday we are influenced by
the things around us. But still, we have to bring the form of
originality to our design to make it unique.
4. Shapes
Shapes play a big role in character design. Every shape has a meaning
behind it. For example is the figure below, the shape reflects the
character's personality. Stories are coming up based on those armor,
helmet, and weapon. Shapes also give us the means to talk about
silhouette and functionality.
Figure 3.1: Character Shape, Creative Character Design by Bryan
Tillman, 2015
5. Reference
Having a reference is not cheating, but do not copy the reference. Using
proper reference is important to every designers as it allow them to
create more accurate designs.
Figure 3.2: Not Using Reference vs Using Reference Creative
Character Design by Bryan Tillman, 2015
6. Aesthetic
The aesthetic is the look of the character. It's important because
character's look determines whether the viewer likes, dislikes, connects
with, sympathizes with, or anything.
- What style should be used when creating this character?
- What colors should be used?
- What medium is this character going to be used for?
- Who is the character’s audience?
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