25/09/2023-30/10/23 (Week 1-Week 6)
Lizzie Tanaka (0362065)
Illustration & Visual Narrative | BDCM | Taylor's University
Task 1 (Exercise 1-2)
LECTURES
Week 1: Briefing and Introduction
In week 1, we were introduced to this course and our tasks and projects for this semester. We were also asked to practice our pen tool by playing the Bezier game online.
Week 2: Vormator Challenge
In week 2, we were introduced to the vormator challenge in which we had to create characters just using the shapes we were given without distorting it. To begin, we have to trace the shapes in Adobe Illustrator. Mr. Hafiz showed us how to trace it step by step using the pen tool. The rules in the vormator challenge is that we are allowed to rotate, flip and duplicate the shapes, and proportional scaling. We can add, subtract, intersect and group elements and can use color, strokes, filters, and effects.
Week 3: Chiaroscuro
In week 3, we were tutored on how to use the pen tool on our illustrations, to create shadows, recoloring artworks and more. We were also tasked to do the Chiaroscuro based on the steps we were taught in class. Chiaroscuro requires us to draw based on our imagination especially because the pictures given to us only had the light areas clearly shown and the shadowed area completely black. This exercise uses the pathfinder tool, shape builder, and the knife tool.
Week 4:
In week 4, we learned more about chiaroscuro and making shadows using pen tool and clipping mask as well as adding texture and using blending modes like lighten, darken, multiply, and more. The recorded lecture is here: Week 4 Lecture
Week 5:
This week, Mr Hafiz explained to us about composition and its basic rules which are
- Visual narrative: composition should complement the subject focus, try to pay attention to the look and the feel and emotions.
- Visual flow: composition will determine the viewer's eye path
- Visual balance: composition can focus on a subject even though we don't know the exact path of the viewer's eye
- Visual hierarchy: the way we focus on our subject have huge effects on our composition.
Different types of shots
- Establishing: using wide shots to establish the setting and give audiences time to take in all the scene while also giving time to process everything that is going on.
- Bird's eyeview: Also known as overhead shots, is when the POV is above the subject. It's somewhere around a 90-degree angle above the scene taking place.
- Frame within a frame: can emphasize and highlight the underlying meanings in our story
- Medium shot: Also called a three-quarters shot, frames three-quarters of the character. This is one of the standard 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 rest of the scene plays out, we’re already invested in the characters’ well-being. Therefore, this type of shots the should emphasize emotions and thoughts from a wider context.
- Worm's eyeview: for an intimate moment, a look into a character's mind. It makes us catch their emotions. This type of shot should emphasize on emotions and thoughts.
Exercise 1: Vormator Challenge (Week 2-3)
The goal is to create a character using the 8 shapes given to us. We were also asked to trace the 8 shapes before using them on our character.
1. Process Work; Vormator Challenge
Fig 1.0 Tracing of the 8 shapes (02/10/2023)
We were first asked to trace the 8 shapes of with pen tool. These tracings will be used to form our character.
Fig 1.1 Character (09/10/2023)
I made this character with its proportions in mind, the head is bigger than its legs and arms. I wanted to create a simple character that is memorable with the shapes without being distorted.
After some time, I decided to add more shapes to the character because I end up thinking it looks quite plain and flat. I've also changed the color to it. Aside from that, I also modified the distance of the ears, make the character smile instead, and shorten the legs.
Fig 1.2 Modifying the character (30/10/2023)
Fig 1.3 Pokemon Card (30/10/2023)
Mr Hafiz also asked us to add shadows and texture to our character. I added shadows first by using pen tool and the divide tool to delete excess area. After that I went to the internet to find my desired texture and used clipping mask to put it inside the shadow. I've also decided to change the color because I feel like it needs to look more 'cheerful' and somehow kinder, so I chose brighter and lighter colors.
Fig 1.4 Adding texture to the shadows (02/11/2023)
Looking at it, I felt like the stripes in the wings needed some texture as well because it has a different color than the darker purple. So I decided to add the same texture to it. I've also moved the eyes and the mouth to the center of the lighter color area because it looked asymmetrical.
Fig 1.5 Adding textures to the stripes (02/11/2023)
Fig 1.6 Final character (02/11/2023)
I decided to refine my card again. First, I changed the colors of the view to a more purple tone to fit the purple character. I wanted the environment to feel like surreal, thus why I decided to use a purple color rather than the normal green colors. The clouds are also almost white but in a slight purple tone. To make the clouds, I used the pencil tool instead of the pen tool because it gives me a more hand-drawn look.
Fig 1.7 Pokemon Card (02/11/2023)
Fig 1.8 Character without shadows & texture (02/11/2023)
Fig 1.9 Character and the silhouettes (02/11/2023)
Fig 1.10 Character (02/11/2023)
I thought that the overall character's emotion look pretty plain and flat, too simple. I also didn't really utilise all the elements. So I decided to add some elements and switch some elements out. Here's a list of what I modified:
- Ears: From the tear drop shape to the triangle shape
- Hair: From the shar edged one to the thick ended shape
- Mouth: From a the curve to the rectangle with two rounded corners
- Added another part of hair with the chevron shape
- Added an eyebrow with the curve
Fig 1.11 Modified character (02/11/2023)
Fig 1.12 Modified character without shadows and textures (02/11/2023)
Fig 1.13 Modified character and silhouette (02/11/2023)
After the modified character, I also changed the sky color to have a tint of purple.
Fig 1.14 Final pokemon card (02/11/2023)
Fig 1.15 Final character design (02/11/2023)
Exercise 2: ChiaroscuroA. Tutorial and Practical
We were tutored on how to create lighter and shadow areas by using the recolor artwork feature, pathfinder (divide), and knife tool. We began by tracing the light area of the pear first, and add another part that will be the shaded area (Pen tool). To delete the excess area we use the pathfinder with 'divide,' ungroup them and delete the excess parts. Then we color it accordingly,
Fig 2.1 Tracing the picture (09/10/2023)
Afterward, to split the pear, we use the knife tool to cut it horizontally then recolor the second and the last cuts to a different color. We then used pen tool to create what seems to be the inner part of the pear and send that element backwards.
Fig 2.2 Using knife tool and recolor artwork feature (09/10/2023)
B. Exercise
For our homework, we are to create a chiaroscuro using the traced pear and an image, in which I chose a skull. I began by tracing the black parts of the skull, including the shadow of the skull and then positioning it on top of the pear.
To remove the excess area, I used the divide pathfinder and deleted the excess parts. I then choose a darker color of the green.
Fig 2.3 Final Result of Chiaroscuro
Exercise 3: Chiaroscuro People Week 4
We were taught how to a create chiaroscuro in people by tracing this picture that was provided us. We have to trace for the lighter areas first (right person). To do this, we have to imagine how the darker areas would look like.
Fig 2.4 Initial image for chiaroscuro people
After we traced it, we created a shadow area using the pen tool as well. To eliminate the areas outside of the lighter areas, I used the shape builder tool and deleted the excess parts. Then, we looked for a texture in the internet, in which I used watercolor textures I found in a web called FreePik.
Applying the texture, we just have to put the texture on top of everything and then select the texture and the shadow part and create clipping mask. Below is the end result of this demo.
FEEDBACKSWeek 2:
General feedback: Good job on the tracing, it's accurate.
Week 3:
General feedback: Remember to use different proportions on the Vormator challenge character.
Week 4:
General feedback: No feedback given
Week 5:
General feedback: Good job on the chiaroscuro exercise
Week 6:
General feedback: No feedback given
REFLECTIONS
Experience
During the time in this module, I thought that it's a fun process to learn Illustrator. Though I have used Illustrator previously, learning the software to create such works I've commonly seen is interesting. Mr Hafiz is also patient in teaching us and each demos are done carefully in an appropriate pace for everyone to follow along.
Observation
I observed that creativity and exploration are two things very important while learning this module. Using only 8 shapes to create a character requires creativity and a huge amount of time dedicated to exploration. When doing the shadows, I also observed that not being too rigid with it helps a lot with a more natural end result.
Findings
I find that in this module, I cannot be scared to create mistakes because it is a part of creative exploration and it's process. While making mistakes, I am also simultaneously learning something new. I also find the process of learning Illustrator very enjoyable.
FURTHER READING
Week 1:
Fig 3.1 Force Character Design from Life Drawing (Mattesi, 2008)
For week 1, as an introduction to character design, I decided to read this e-book that Mr Hafiz provided for us. I read about force with character, chapter 1. I learned that it is good to take the risk to push our drawings to an extreme because it helps define our character even more. Mattesi's rule is that the drawing has to function the way his subject did and that rhythm should be consistent throughout the drawing.
Fig 3.2 Pg 5-6
Mattesi stated that we have to be aware of the relationship between these forces. We have to allow the drama for this drawing to have the impact.
Week 2
For week 2, I read about angles, from page 15.
Fig 3.3 Pg 15-16 Amazing Angles
- Perfect vertical/horizontal is less dramatic than a 45 degree angle. Mattesi said he uses angles in an abstract manner, and we shouldn't make angles and measure the end result of our drawing.
- Ways to use angles" Angles are created by the relatinoship of 2 forces, they are applied forces. The second one is the abstraction.
- A slight variation in the angles would vary the intensity of force in the drawing because of the chain of command. Angles relate to the gravity and rhythm.
Week 3:
Fig 3.4 Pg 22 Developing Ideas
For week 3, I continued to read this book about developing ideas. Ideas most likely come from the truth, our past experiences. Drawing is a skill to visualize these ideas. Our ideas can be based on anything we are interested in, as we draw the figure we need to be open to possible reactions to the visual stimuli you experience. We have a lot of ideas but sometimes not all can be incorporated into our drawing. Drawing is not always about how accurate it is to the image in front of us in a manner of angles and tones. Mattesi stated he always goes after the main point he's interested in. A lot of his examples show his emphasis of angles on the parts of the anatomy he's most interested in.
Week 4:
This week, I learned about how to create depth into our character. Mattesi concluded 4 tricks he used to learn about depth:
- Size
- Overlap
- Convergence (Perspective)
- Denial of tangents
Mattesi explained how size and overlap alone can create depth. When something is smaller in size, it can either be it's farther away or just simply a smaller size. But when we overlap the smaller behind the bigger one, it gives us the perspective that the small box is further away. When the opposite is done, it confuses people with the closer box being smaller.
Fig 3.5 Depth
Week 5
For week 5, I learned about how location equals depth.
Fig 3.6 Location equals depth
I learned that the closer the object is to the center of the perspective, it will be smaller and vice versa. So it's important to consider which object would we want to be closer to our eyes.
Mattesi provides many examples of how this trick is used across his figure drawings.
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