IVN Task 2 - Composition
11 October, 2024 - 1 November, 2024 (Week 3
- Week 6)
TANG LILIN (0376668)
TANG LILIN (0376668)
Illustration and Visual Narrative
Task 2 - Composition
LIST
LECTURE
IVN 02 Chiaroscuro
It is an Italian term which means "light-dark".This technique refers to
Clear Tonal Contrast to suggest three-dimensional volumne and modelling of
objects and figures. Chiaroscuro is a technique with dramatic washes of light and shadows to
make a scene or subject pop out. If you ever told spooky flashlight
stories under the blanket as a kid, you’ll already know why chiaroscuro
withstands the test of time.
The purpose of chiaroscuro is to "increase the scene's dramatic tension" by
exaggerating the subject's importance "using color or light contrast".
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| fig 1.1 lecture 1 |
Tenebrism is the process of contrasting the highlights with the darker
parts of a picture.
The focus of chiaroscuro is the focus point in the scene or the subject of
the scene is bright or contrasting with a dark background（which is a style
called Low-key-lighting).
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| fig 1.2 lecture 2 |
Chiarascure is used in visual narrative because it can differentiate
positive and negative spaces in the scene.
Chaiaroscure used in visual narrative have those following
PROs:
- Increase dramatic temsion: Giving emotions and feeling in the scene.
- Create sensational effect: To emphasising the narrative by elevating fantastical viewpoints.
- Attract Attention: Establish visual hierarchy
- Tasteful Composition: Creating attractive scenes by contrasting negative spaces and positive spaces
IVN 03 Composition
We should arrange elements and choose the shot angle based on what meaning
we want to convey.
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| fig 1.4 lecture 4 |
Visual Narrative: The composition should reflect the narrative by
thinking the look and feel of the scene.
Visual Flow: The composition also determines the path of viewer's
eye.
Visual Balance: We can nudge the visual flow by arranging the
objects in the diagram.
Visual Hierarchy: The way we arrange our elements in the scene can
have huge effects on the composition.
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| fig 1.5 lecture 5 |
Different Types of Shots
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| fig 1.6 lecture 6 |
Establishing
Wide shots were often used to establish not just the setting, but to
portray spectacle
Bird's Eyeview
The overhead shots means that the POV is located directly above the
subject. It has a 90-degree angle from the ongoing scene.
Frame Within a Frame
The carefully composed frame in the frame can divide the screen space,
increase the depth and create visual interest in the film composition.
Medium Shot
It is also called a three-quarters shot. This is one of the standard camera
angles used to frame a character.It is used on the shots of close-up and
long shot.
Close-up
The close-up is an intimate moment, it helps us to catch character's
emotion.
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| fig 1.7 lecture 7 |
IVN 04 Perspective
In this lecture, we will discuss how to present the correct perspective
relationship to people on a two-dimensional plane.
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| fig 1.8 lecture 8 |
One-Point Perspective
To producing three-dimensional images, one measure is to arrange all the
elements emerging from a single point on the horizon.
Rule: the elements that get more closer to the vanishing point become more
smaller.
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| fig 1.9 lecture 9 |
Two-Point Perspective
There are two vanishing point on the both sides of the horizon. All the
elements in the scene extend to these two vanishing points.
It helps to create a greater sense of space, and make the objects in the
scene in three dimension.
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| fig 1.10 lecture 10 |
Three-Point Perspective
Based on two vanishing point on the both sides of the horizon, three-point
perspective add a another vanishing point above or below the horizon.
the objects more far from the vanishing point above or below the horizon
have a less intensity of angle
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Isometric View
We can use a simple isometric view to displaying three sides of a object
without distorting perspective or obscuring details.
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Dynamic Application
There are many perspective methods that we can use in scenes, but it does
not need to be grid or boring, we can mix different perspective methods in
one scene.
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In the video, there are linear perspective and composition. The perspective
center of the painting is located in the door frame in the background, and
the vanishing point falls on the man in the door.This vanishing point guides
the viewer's line of sight from the main figure in the foreground to the
distant view, creating a deep sense of space. From the decorative lines
on the floor and ceiling to the straight lines on the wall frames, all of
these lines point toward the vanishing point, helping to form a clear
spatial structure. This linear perspective effect deepens the viewer's
experience of the depth of the picture, as if the space of the picture is
stretched out. What's more, Introduction of multiple perspectives and
audience perspectives.On the right side of the picture, you can see the
images of King Felipe IV and Queen Mariana reflected in a mirror. This
detail not only provides an additional perspective, but also implies that
the painter, the king and the queen are also looking at the audience while
viewing the painting. In this way, the work itself is not just a static
picture, but a "theater"-like space.
INSTRUCTION
ABOUT the Week 4 Shadow training
I follow the steps that Mr.Hafiz taught us.
Some efforts for doing that.
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Final Work File of Shadow training
| fig 2.3 FINAL WORK - AI file |
TASK 2 - COMPOSITION
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I got inspiration from this picture to make my sketch.
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Some efforts in changeing the sketch.
| fig 3.3 progress |
And here is my Final Sketch.
Then I started to make it in AI. First, I used a pen to outline the outline
of each part.
After that, I started to combine the shapes using the shape builder tool.
After that, I add some details of my vormator in his cloth, hair, horn, hand, and foot.
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| fig 3.5 the template that I use in the Framed Ink |
I read Framed Ink in Google classroom. I selected the "Large, Medium,
Small" template on page 50 to make my design. My understanding of this
template is: when we make it in 2D, the picture may look very plain
and lack the authenticity of 3D. At this time, we can use some methods
to make the picture lively. The method we use here is to make the same
elements in different sizes to reflect the liveliness of the picture,
so as to achieve the effect of narrating a story. In my layout. I want
the picture layout to be composed of arc curves like the 50th
template. Put the main vormator character on the right side of the
picture. The other part of the arc is composed of the monster bird
flying towards the vormator. The monster birds of different sizes fly
to the vormator in turn, and the monster birds spray flames like the
vormator, the flames in different sizes (in the final work), and the
mountains of different sizes in the background (in the final work) all
use the template I quoted. The volcano and the mountains form the
distant view, the hills and the distant grasslands and rivers form the
middle background, and the rocks and the nearby grass and streams form
the foreground. The picture has a deep depth of field and looks very
much like a three-dimensional world, which also refers to the
template's requirement to make the picture look deep and like the real
world.
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| fig 3.6 progress |
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| fig 3.7 progress |
After that, I started to combine the shapes using the shape builder tool.
fig 3.8 color reference
Then I found some suitable color combinations from the adobe.color
website
fig 3.9 coloring progress
This is my rock coloring process.
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| fig 3.10 coloring progress |
This is my mountains and hills coloring process.
fig 3.11 coloring progress
Then I do the coloring of the other part of the elements.
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| fig 3.12 coloring progress |
After that, I add some details of my vormator in his cloth, hair, horn, hand, and foot.
And also add some shadow for it.
Above is my final work.
Regarding vormator, I redesigned it. I designed a wizard elf based on a goat. The goat horns are kept on the head, with goat ears and wool hair. The big watery eyes reflect the spirituality of being an elf. The clothes are wizard robes, and the pattern is composed of geometric diamond patterns. This pattern is designed to match the setting of coming from the forest. There is a goat hand and a human hand. The elf has a human hand because he was injured when he was a child and was picked up by a human wizard. It was left when he was taken back for treatment. It was also at that time that he learned magic. The goat hand and goat foot retain the characteristics of his goat prototype. Regarding the environment, I designed the world where vormator lives, and this scene is designed as a moment in vormator's life. The setting of vormator is from the forest, so the elements of the scene, grassland, river, mountain, rock, and bird are all in line with the setting of coming from the forest. The scene I designed is: vormator uses magic to resist the attack of strange monster birds. These monster birds all come from distant volcanoes. At this time, Vormator was standing on the rock and casting magic. Due to the attack of the monster bird, the grass had been polluted and could not be touched, so he could only stand on the rock.
fig 3.13 coloring progress
After that , I add some details for the environment.
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| fig 3.14 FINAL WORK |
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| fig 3.15 FINAL WORK |
Above is my final work.
Regarding vormator, I redesigned it. I designed a wizard elf based on a goat. The goat horns are kept on the head, with goat ears and wool hair. The big watery eyes reflect the spirituality of being an elf. The clothes are wizard robes, and the pattern is composed of geometric diamond patterns. This pattern is designed to match the setting of coming from the forest. There is a goat hand and a human hand. The elf has a human hand because he was injured when he was a child and was picked up by a human wizard. It was left when he was taken back for treatment. It was also at that time that he learned magic. The goat hand and goat foot retain the characteristics of his goat prototype. Regarding the environment, I designed the world where vormator lives, and this scene is designed as a moment in vormator's life. The setting of vormator is from the forest, so the elements of the scene, grassland, river, mountain, rock, and bird are all in line with the setting of coming from the forest. The scene I designed is: vormator uses magic to resist the attack of strange monster birds. These monster birds all come from distant volcanoes. At this time, Vormator was standing on the rock and casting magic. Due to the attack of the monster bird, the grass had been polluted and could not be touched, so he could only stand on the rock.
About color matching: I chose all the colors from the adobe.colour website.
Since there are many elements in the picture, my color matching is divided
into the color of the character, the color of the monster bird, and the
color of the background. The main colors of the character are purple and
green. Green is because he comes from the forest, so choosing green is in
line with the setting. Purple is because the character has been using magic
at night to resist external attacks and protect the peace of the forest for
a long time, and gradually became stained with the filth of the monster,
changing the original color. Purple can reflect filth and demons. The main
color of the monster bird is red. Because the monster bird comes from a
volcano, the main color of its body is red. It can spray flames, so there
are yellow and orange as embellishments on its body. The colors of the
background are purple, blue, and green. Because the story takes place at
night, the colors of the distant mountains and hills and the sky are
composed of blue and purple.
Final Work File of Task 2 Composition
Final Work File of Research Board
My pockmon card
My vormator character's name is Elvenhoof. He was originally a goat.
When he was a child, his arm was bitten by a lion during hunting. Later,
he was rescued by a human wizard. The wizard changed him into an elf,
which can transform into an elf and has a human hand. The wizard taught
him guardian magic so that he can protect himself and not get hurt
again. Later, he grew up and mastered magic skills more and more. He
found that at night, monsters appeared from volcanoes or other places at
the end of the forest and came to the forest to attack animals. He
decided to use his guardian magic power to maintain peace in the
forest.
The weakness is that he may be very weak during the day. Because he
fights monsters in the deep forest at night, he may transform into a
goat prototype and hide in the forest. The limitation is that this magic
cannot be used during the day, because this magic is specifically for
monsters in the deep forest. During the day, he needs to absorb a lot of
energy and store the energy.
REFLECTION
At the start of this assignment, I faced some challenges due to my unclear understanding of the instructions. Additionally, I initially misunderstood the concept of the "template" from Framed Ink, which led to several incorrect drafts. This experience taught me the importance of thoroughly understanding the instructions before diving into the work.
Moving forward, I believe it’s crucial not to rush into creating an assignment. First, I need to carefully and clearly comprehend the instructions. Then, I should dedicate time to research and find references that align with the requirements. Good, well-suited references can significantly enhance the efficiency and outcome of the project.
This assignment primarily tested my skills in using Adobe Illustrator for coloring techniques, understanding light and shadow, and applying concepts from Framed Ink. Despite the initial struggles, I found that focusing on these aspects not only improved my technical skills but also deepened my understanding of visual storytelling and composition. This reflection has reinforced the value of preparation and intentionality in creative projects.
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