ILLUSTRATION & VISUAL NARRATIVE | TASK 1 — EXERCISES

We were introduced to IVN along with the expectations and objectives of the module. We were also introduced to the Bézier Game (a game for learning the Adobe Illustrator pen tool) and the Vormator Challenge (a challenge to create characters with limited shapes and within strict guidelines). We were instructed to complete 15 stages of the Bézier Game.

1.2 WEEK 2 — CHARACTER DESIGN BASICS

STYLISED DESIGN:

Iconic - Silhouette
Simple - Purpose
Unique - Memorable

PRINCIPLES OF CHARACTER DESIGN:

Shape:

Use the character's personality and role as a basis for their shape language.
E.g. Circles — friendly, trustworthy (protagonists), squares — strong and stable (deuteragonists), triangles — unpredictable and aggressive (antagonists).

Figure 1.2-1: Monsters, Inc. (2001) Character Study - Shape

Figure 1.2-2: Aladdin (1992) Character Study - Shape

Colour:

Colour can determine and separate the basic characteristics of heroes, villains, and side characters.
Colour psychology — Different colours give impressions of different emotions.

Figure 1.2-3: Inside Out (2015) Character Study - Colour

Emphasis & Contrast:

Exaggerate and emphasise a character's contrasting visual elements using colours and shapes.

Figure 1.2-4: Inside Out (2015) Character Study — Emphasis & Contrast

Harmony:

Every element in a character's design should complement each other and reflect on the character's narrative.
Visual hierarchy.

Figure 1.2-5: Inside Out (2015) Character Study — Harmony

Expressions & Poses:

Clear visualisation of the character's behaviours, quirks and personality make it easier to appeal to the audience.

Figure 1.2-6: Inside Out (2015) Character Study — Expressions & Poses

1.3 WEEK 3 — CHIAROSCURO

CHIAROSCURO:

Definition: The use of light and dark to create the illusion of 3D volume on flat surfaces.

An Italian term meaning "light-dark".

In Paintings:

Creates clear tonal contrast.
E.g. Leonardo da Vinci, Caravaggio
Tenebrism = Significant details are highlighted to contrast a dark setting.
Low-key lighting = Dimming the setting to emphasise natural / artificial lighting.

Purpose:

To increase dramatic tension — exaggerating the subject's importance using colour / light contrast.

Subject is brightly coloured.

To differentiate positive and negative space.

Positive space = Subject of interest in a visual.
Negative space = Background surrounding the positive space.

Figure 1.3-1: Still Life with Fruit (Caravaggio, 1601)

1.4 WEEK 4 — COMPOSITION THEORY 1 (VISUAL TYPES & SHOTS)

BASIC COMPOSITION VISUAL RULES:

Visual Narrative:

The composition should complement the subject focus and reflect on the narrative.
The composition should reflect the look and feel of the scene.

Figure 1.4-1: Violet Evergarden, Episode 10 (2018) Composition Study — Visual Narrative

Visual Flow:

The composition determines the path of a viewer's eye through the visual.

Figure 1.4-2: Demon Slayer —Kimetsu no Yaiba— The Movie: Mugen Train (2020) Composition Study — Visual Flow

Visual Balance:

Figure 1.4-3: Parasite (2019) Composition Study — Visual Balance

Visual Hierarchy:

Figure 1.4-4: Anne of Cleeves (Hans Holbein the Younger, 1539) Composition Study — Visual Hierarchy

TYPES OF SHOTS:

Establishing Shot:

Purpose:

Establish the setting.
Give viewers time to take in the scene.

Figure 1.4-5: The Wizard of Oz (1939) — Establishing Shot

Bird's-eye View:

AKA overhead shots.
The camera is placed directly above the subject.
It is ~90° above the scene.

Figure 1.4-6: The Avengers (2012) — Bird's-eye View

Frame-within-a-frame:

A well-composed frame-within-a-frame can fracture screen space, add depth, and create visual interest in the composition.
Purpose:

Foreground and background elements can emphasise and highlight underlying meanings in the story.
Break up information in the frame for maximum impact.

Figure 1.4-7: Mulan (1998) — Frame-within-a-frame

Medium Shot:

AKA three-quarters shot.
Purpose: To frame characters.

Figure 1.4-8: Titanic (1997) — Medium Shot

Close-up Shot:

A close-up shot is an intimate moment between the viewer and the character.
Purpose: To emphasise emotion and thoughts within a grander context.

Figure 1.4-9: Get Out (2017) — Close-up Shot

Worm's-eye View:

The camera is placed directly beneath the subject.
It is ~90° below the scene.

Figure 1.4-10: The Avengers: Age of Ultron (2015) — Worm's-eye View

1.5 WEEK 5 — COMPOSITION THEORY 2 (PERSPECTIVE)

Perspective = The representation of 3D objects on a 2D surface while giving the right impression of height, weight, depth, and position in relation to each other.

TYPES OF PERSPECTIVE:

One-Point Perspective:

Objects emerge from a single point on the horizon line.
The closer the objects are to the vanishing point, the smaller they become.

Figure 1.5-1: One-Point Perspective (21-Draw, 2016)

Two-Point Perspective:

Two vanishing points on either side of the horizon line.
Objects recede towards both vanishing points.
Purpose: To create a sense of space and dimension.

Figure 1.5-2: Two-Point Perspective (21-Draw, 2016)

Three-Point Perspective:

Two vanishing points on either side of the horizon line, another vanishing point high above / below the horizon line.
Purpose:

To achieve a sense of drama and scale.
To show more objects in a scene.

Figure 1.5-3: Three-Point Perspective (21-Draw, 2016)

Isometric View:

Typically used when creating concepts of individual buildings.
Purpose: To clearly present three sides of a design without distorting perspective or obscuring detail.

Figure 1.5-4: Isometric View (21-Draw, 2016)

2.0 INSTRUCTIONS

3.0 WEEKLY EXERCISES

3.1 THE BÉZIER GAME

Figure 3.1-1: The Bézier Game — Car Stage, Week 1 (26/09/23)

3.2 TRACING SHAPES

We traced the Vormator Challenge shapes using the Pen tool.

Figure 3.2-1: Vormator Tracing Exercise, Week 2 (04/10/23)

3.3 CHIAROSCURO EXERCISE

I started off by tracing a reference image of a pear using the Pen Tool. I made my pear a radioactive blue. Then I used the Pencil Tool to create the shadows.

Figure 3.3-1: A ~~Radioactive~~ Normal Pear, Week 3 (11/10/23)

With the help of the Knife Tool and the Recolour function, I sliced up my pear and changed its colour.

Figure 3.3-2: A Normal Pear After Dissection, Week 3 (11/10/23)

Figure 3.3-3: A Normal Pear After Recolouring, Week 3 (11/10/23)

As per Mr Hafiz's instructions, I traced the reference image of a pair of skulls and applied them to my pear as shadows.

Figure 3.3-4: Skull Tracing, Week 4 (17/10/23)

Figure 3.3-5: A Normal Pear With A Skull Shadow, Week 4 (17/10/23)

Figure 3.3-6: A Normal Pear — A Collection (Final Submission), Week 4 (17/10/23)

3.4 COLOUR & BLENDING

After tracing the reference image, I created the shadows using the Pen and Pencil Tool. The goal is to make the shadows look stylised.

Figure 3.4-1: Outline of a Guy, Week 4 (18/10/23)

Figure 3.4-2: A Guy With Shadows, Week 4 (18/10/23)

I then applied a clipping mask with a watercolour texture over the shadows.

Figure 3.4-3: A Guy With Watercolour Texture (Final Submission), Week 4 (18/10/23)

4.0 EXERCISE 1 — VORMATOR CHALLENGE

Instructions: Create a unique character using a limited set of shapes.

Vormator Challenge Rules:

☑ Rotate, flip and duplicate the shapes.
☑ Scaling (only proportionally).
☑ Add, subtract, intersect and group shapes.
☑ Gradients.
☒ Skewing or free transform.
The use of colour is unrestricted.

4.1 SILHOUETTE

4.1.1 RESEARCH

I had an idea of the vibes I wanted my character to give, so I started off by looking for inspiration on Pinterest.

Characters such as Litwick, Phanthump (Figure 4.1.1.1), Pumpkaboo and Drifloon (Figure 4.1.1.2) from Pokémon, the bugs from Hollow Knight (Figure 4.1.1.3) and Wisp from Animal Crossing (Figure 4.1.1.4) have that spooky, yet cute appearance I was going for. Most of them have a predominantly squarish or circular shape design, accented by smaller triangles.

Many spooky characters have twisting horns, have multiple eyes and limbs, have a smoky effect or are a mash-up of different animals and objects. The characters I referenced also have beady eyes or big eyes, a derpy expression and a friendly smile which make them cute and approachable. They also have bigger heads than bodies, making them appear childlike.

I also noticed that many spooky characters have a darker, desaturated colour palette (e.g. blue, purple) with a bright complementary accent colour (e.g. pink, yellow, orange).

Figure 4.1.1-1: Litwick & Phanthump by Ngan Pham, Week 2 (06/10/23)

Figure 4.1.1-2: Pumpkaboo & Drifloon by PinkGermy, Week 2 (06/10/23)

Figure 4.1.1-3: Hollow Knight by @Franaza2 (Twitter), Week 2 (06/10/23)

Figure 4.1.1-4: Wisp by Laura Langston, Week 2 (06/10/23)

I also took a look at other Vormator Challenge submissions to get an idea of how certain shapes can be utilised. The Zerk seems to be a popular shape for the characters' bodies.

Figure 4.1.1-5: Vormator Challenge by ART WITH NELSON, Week 2 (06/10/23)

Figure 4.1.1-6: Vormator Challenge by Daniella Luna, Week 2(06/10/23)

Figure 4.1.1-7: Vormator Challenge Shapes, Week 2 (06/10/23)

4.1.2 SKETCHES

Considering the limitations of the Vormator Challenge, I began sketching out some monster designs. My personal favourites are the Ankle Biter and the Wereshark.

Figure 4.1.2-1: Sketches, Week 2 (07/10/23)

4.1.3 DIGITISATION

I decided to digitise the Ankle Biter. While digitising, I made minor changes to its design to further emphasise its cuteness and furriness, while simultaneously showing its lore.

The Ankle Biter is a peculiar species. It makes its home in domestic households, hiding in closets and under beds while waiting for its prey: human ankles. The Ankle Biter is a solitary hunter. It hides among docile Dust Bunnies, sporting a vicious set of teeth behind a cute, innocent front.

Minor Changes:

I made it more bottom-heavy so that it looks more adorable and less threatening.
I covered its entirety in fur as opposed to only at the cheeks. It is a literal furball, after all.
I extended its "ears" slightly so that it further resembled rabbit ears.

I considered the Ankle Biter's lore and aesthetic when deciding on its colour palette. It mimics dust and is supposed to be an unassuming little monster, so a dull greyish-purple and puke-brown palette seems suitable. Its nasty colour palette also contrasts its somewhat cute appearance, hopefully giving the viewer some sort of whiplash.

Figure 4.1.3-1: Digitisation of the Ankle Biter, Week 2 (08/10/23)

Figure 4.1.3-2: Vormator Shape Arrangement, Week 2 (08/10/23)

Figure 4.1.3-3: The Ankle Biter's Colour Palette, Week 2 (08/10/23)

4.2 TEXTURE & SHADOWS

4.2.1 ATTEMPT #1

My first attempt at texturing fur was...not fun at all. I created a clipping mask using an image of realistic fur. The result: …This.

Figure 4.2.1-1: Texture — Attempt #1, Week 3 (11/10/23)

4.2.2 ATTEMPT #2

I watched a tutorial on texturing cartoon fur. This time the texture of the fur didn't look too off, however this method uses the Distort & Transform function, which is against the Vormator Challenge rules.

Figure 4.2.2-1: Texture — Attempt #2, Week 3 (11/10/23)

4.2.3 ATTEMPT #3

This attempt has been the most successful. I applied a gradient to the Tentacle and repeated it throughout the Ankle Biter's body. It legitimately looks furry and has depth.

Figure 4.2.3-1: Texture — Attempt #3, Week 3 (12/10/23)

4.3 DETAILS

I added the finishing touches to my character, such as highlights and some texture on its teeth.

Figure 4.3-1: Ankle Biter (Final Submission), Week 4 (19/10/23)

5.0 EXERCISE 2 — GAME CARD DESIGN

Instructions: Create a Pokémon card featuring your Vormator Challenge character.

5.1 RESEARCH & SKETCHES

5.1.1 RESEARCH

What I like about newer Pokémon cards is how clearly you can understand the lore and characteristics of the Pokémon showcased just by looking at the illustration.

For example, Charizard (Figure 5.1.1.1) coming from a volcanic region with its tail on fire lets us know that it is a Fire-type Pokémon that lives in the wild. Alakazam (Figure 5.1.1.2) being surrounded by alchemy items while playing with spoons implies that it is a Psychic-type Pokémon who likes spoons (lol).

Based on the lore I've created for my monster, the Ankle Biter would be a Dark-type Pokémon found hiding under furniture.

Figure 5.1.1-1: Charizard Pokémon Card, Week 5 (28/10/23)

Figure 5.1.1-2: Alakazam Pokémon Card, Week 5 (28/10/23)

Although I really like the look of a fully illustrated background, the text is a bit hard to read, so I'll be doing a half-size background like older Pokémon cards, such as Figure 5.1.1.3.

Figure 5.1.1-3: Eevee Pokémon Card, Week 5 (28/10/23)

5.1.2 SKETCHES

I compiled what I've learned during research and began sketching. The angle of the sketch is based on a photo I took while exploring potential Ankle Biter hiding spots in my room. I utilised the rule of thirds while taking the photo.

Figure 5.1.2-1: Game Card Illustration Sketch, Week 5 (29/10/23)

5.2 DIGITISATION & FINALISATION

Figure 5.2-1: Game Card Illustration, Week 6 (02/11/23)

I tried my best to follow the style and aesthetic of the official Pokémon cards (both old and new), but with my own flair. Coming up with the Ankle Biter's fighting style as a Pokémon was the best part of this exercise.

Figure 5.2-2: Game Card Design (Final Submission), Week 6 (02/11/23)

6.0 REFLECTION

6.1 EXPERIENCE

My first taste of IVN has been very pleasant. The weekly exercises were thoroughly explained and quite easy to complete, which meant I had less work to do (lol). The only not-so-pleasant experience so far was when I was stressing over my character's fur, but other than that, I didn't have too much trouble sticking to the Vormator Challenge's rules. Designing my Pokémon card was a blast, 10/10 would do it again.

6.2 OBSERVATIONS

I noticed while digitising my Vormator character that almost none of my classmates and seniors designed characters with fur. With no one to reference and limitations to consider, this made texturing the Ankle Biter excruciating, to say the least. I almost gave up and wanted to digitise another sketch instead.😅 I pushed through though, and am very pleased with the result.

6.3 FINDINGS

I realised that I don't work well if my workload isn't split up into smaller, manageable pieces beforehand. With Task 1, the weekly exercises were easy for me to finish, whereas I procrastinated a bunch on the Vormator Challenge because we were in charge of the pacing. Note to self: Assign weekly workload.

7.0 FURTHER READING

7.1 WEEK 2 — CREATURE DESIGN WITH SCOTT FLANDERS

Figure 7.1-1: Creature Design with Scott Flanders (2020)

Reference: Proko. (2020, September 12). Creature Design with Scott Flanders - Lightbox Expo Demo. https://www.youtube.com/live/wS8VIbUltpk?si=dcxf1kfogy0GKv04. YouTube.

QUICK LINKS

TASK 1 — EXERCISES

TASK 2 — DECISIVE MOMENT

TASK 3 — DIGITAL TRIPTYCH

TASK 4 — SELF-TITLED

FINAL COMPILATION & REFLECTION

Emily Soh Ching-Ling 0359478