Illustration & Visual Narrative - Task 2
13/09/2022 - 02/10/2022 // (Week 3 - Week 5)
Denise Anjali // 0342430
Illustration & Visual Narrative // Bachelor of Design in Creative Media
Task 2: Digital Triptych
LECTURES
Week 3:
Entering competitions is good for students in order to get some exposure. This is why competitions are built into our assignments. Any visuals that fit the theme is acceptable. Come up with your own story and visual style. Working with repetitive motifs is acceptable as well. Within the visual there must be an intriguing story. We must create an appealing visual.
Week 5: Composition
Visual types and shots are best studied from photographs. Composition is how you arrange the elements in your design/frame. The best way to arrange it is by arranging it with meaning. The focus should stand out, even if its subtly.
Basic composition visual rules are visual narrative (think of the feel of the scene), visual flow (the path of the viewer's eye), visual balance (nudge the eye of the viewer in a certain direction), and visual hierarchy (the way you visualize and focus your subject).
Different types of composition shots:
Establishing shot - establish the setting and portray a spectacle, wide shots
Bird's eye view - overhead shots, about 90 degree angle above the ground
Frame within a frame - add depth and create visual interest, emphasize and highlight the meanings
Medium shot - three- quarters shot, most common shot
Close up - Catch emotions, intimate look into the character's mind
Worm's eye view - from the ground up/close to the ground, emphasizes emotions as well
Using foreground (nearest the viewer) , middle ground (in between), and background (furthest from the viewer) well, we can put a better composition together. The subject can be in any position mentioned above. Your visual should influence the way the viewer will digest your content.
INSTRUCTIONS
Task 2 : Digital Triptych
Denise Anjali // 0342430
Illustration & Visual Narrative // Bachelor of Design in Creative Media
Task 2: Digital Triptych
LECTURES
Week 3:
Entering competitions is good for students in order to get some exposure. This is why competitions are built into our assignments. Any visuals that fit the theme is acceptable. Come up with your own story and visual style. Working with repetitive motifs is acceptable as well. Within the visual there must be an intriguing story. We must create an appealing visual.
Week 5: Composition
Visual types and shots are best studied from photographs. Composition is how you arrange the elements in your design/frame. The best way to arrange it is by arranging it with meaning. The focus should stand out, even if its subtly.
Basic composition visual rules are visual narrative (think of the feel of the scene), visual flow (the path of the viewer's eye), visual balance (nudge the eye of the viewer in a certain direction), and visual hierarchy (the way you visualize and focus your subject).
Different types of composition shots:
Establishing shot - establish the setting and portray a spectacle, wide shots
Bird's eye view - overhead shots, about 90 degree angle above the ground
Frame within a frame - add depth and create visual interest, emphasize and highlight the meanings
Medium shot - three- quarters shot, most common shot
Close up - Catch emotions, intimate look into the character's mind
Worm's eye view - from the ground up/close to the ground, emphasizes emotions as well
Using foreground (nearest the viewer) , middle ground (in between), and background (furthest from the viewer) well, we can put a better composition together. The subject can be in any position mentioned above. Your visual should influence the way the viewer will digest your content.
INSTRUCTIONS
Task 2 : Digital Triptych
We are instructed to create a triptych, a 3-panel artwork, based on the themes
of Cultural Celebration or Renewal of Life. This artwork is to be submitted in
the HONOR Talents Global Design Awards Competition. Each panel has to be 1200
x 1200 px. We can only use Adobe Illustrator for the final work.
I immediately had an idea for the theme of Renewal of Life, which was the story of Persephone. I had sketched out a simple idea for this on Photoshop to see if the composition was suitable and if the idea was viable.
Figure 1.1: Sketch for digital triptych, Week 3 (14/09/2022)
I immediately had an idea for the theme of Renewal of Life, which was the story of Persephone. I had sketched out a simple idea for this on Photoshop to see if the composition was suitable and if the idea was viable.
Figure 1.1: Sketch for digital triptych, Week 3 (14/09/2022)
I intended to show 3 stages in Persephone's life; her being taken into the
Underworld, her eating the fateful pomegranate, and her being reborn as both the Goddess of
Spring and the Queen of the Underworld.
When seeking feedback, I was told the idea was solid but the composition could be better. The suggestion given would be to make Persephone the central figure in each panel for the sake of consistency. I was advised to look at Art Nouveau for inspiration as those type of artworks commonly tell the tales of myths and legends.
Figure 1.2: Example of Art Nouveau style
REFLECTION
When seeking feedback, I was told the idea was solid but the composition could be better. The suggestion given would be to make Persephone the central figure in each panel for the sake of consistency. I was advised to look at Art Nouveau for inspiration as those type of artworks commonly tell the tales of myths and legends.
Figure 1.2: Example of Art Nouveau style
I created more sketches trying to address the issues brought up
above.
Figure 1.3: 2nd sketch for digital triptych composition, Week 3
(15/09/2022)
I sketched the same ideas out but this time with Persephone being at the
centre of each panel. I also have the same perspective of her at a half
body shot. However, this composition felt empty. And I did not know what
to do for the background.
Figure 1.4: 3rd sketch for digital triptych composition, Week 3
(15/09/2022)
I went to look at more examples of Art Nouveau style pieces and realized
they tended to have a pattern in the background. I also wanted to
include Persephone's full body to show what exactly she was doing in the
panels. For this sketch, in addition to Persephone being in the center
of the panel, I also incorporated different shapes as the background of
each panel.
Some feedback given to me was to look at graphical tarot cards for inspiration as well. Solely art Nouveau style such as Alphonse Mucha's work can be overly detailed for Illustrator work. I was also told to consider the balance of the composition. Another feedback given was to use simple vector shapes in my design.
Using various reference images, I made more refined sketches to figure out how exactly I wanted the composition to look.
Figure 1.5: Reference images used for poses, Week 4 (23/09/2022)
Some feedback given to me was to look at graphical tarot cards for inspiration as well. Solely art Nouveau style such as Alphonse Mucha's work can be overly detailed for Illustrator work. I was also told to consider the balance of the composition. Another feedback given was to use simple vector shapes in my design.
Using various reference images, I made more refined sketches to figure out how exactly I wanted the composition to look.
Figure 1.5: Reference images used for poses, Week 4 (23/09/2022)
Figure 1.5: Refined sketch for panel 1, Week 4 (23/09/2022)
Figure 1.6: Refined sketch for panel 3, Week 4 (23/09/2022)
Figures 1.7 (left) & 1.8 (right): Alternate sketches for panel 1, Week 4 (23/09/2022)
Figure 1.5: Refined sketch for panel 2, Week 4 (23/09/2022)
Figure 1.6: Refined sketch for panel 3, Week 4 (23/09/2022)
While I am pretty certain of what backgrounds I wanted for panel 2 and 3, I was unclear with the background of the first panel. Due to this I created a couple more sketches with different backgrounds.
After, I started to trace the sketches on Illustrator using the pen and paintbrush tool. These tools would allow for easy conversion to full colour.
Figure 1.9: Process of illustrating panel 1, Week 5 (28/09/2022)
Figure 1.10: Process of illustrating panel 2, Week 5 (30/09/2022)
Figure 1.11: Process of illustrating panel 3, Week 5 (02/10/2022)
Figure 1.9: Process of illustrating panel 1, Week 5 (28/09/2022)
For the first panel, I had not fully decided what to do with the background. As I worked on the other backgrounds, I realized I had done slight framing within the panel so I wanted to keep that consistent with the little bits of dirt and rock around the edge of the panel.
Figure 1.10: Process of illustrating panel 2, Week 5 (30/09/2022)
I had the clearest idea for the 2nd panel which made this panel rather straightforward to work on. I wanted to make Persephone and the pomegranates stand out using brighter colours.
Figure 1.11: Process of illustrating panel 3, Week 5 (02/10/2022)
The final panel took some experimenting with colours for Hades and with the background as well. I also looked at some images of spring in Greece to inspire the background of the panel.
These are the full triptych panels as separate JPEGs.
Figure 1.12: Digital triptych panel 1, Week 5 (02/10/2022)
Figure 1.13: Digital triptych panel 2, Week 5 (02/10/2022)
Figure 1.14: Digital triptych panel 3, Week 5 (02/10/2022)
These are the full triptych panels as separate JPEGs.
Figure 1.12: Digital triptych panel 1, Week 5 (02/10/2022)
Figure 1.13: Digital triptych panel 2, Week 5 (02/10/2022)
Figure 1.14: Digital triptych panel 3, Week 5 (02/10/2022)
Final Digital Triptych outcome
Figure 1.15: Final Digital Triptych outcome, Week 5 (02/10/2022)
REFLECTION
Exploration: This experience has shown me how entering competitions can benefit us and what can be learnt from the process and experience.
Observations: I have noticed that I need to learn how to create lineless art better as I am not fully satisfied with the final version of my artwork.
Findings: I have found that I need to think of the bigger picture more often as I
tend to focus in on the details and miss out on how to make the entire
piece more coherent.
Comments
Post a Comment