Illustration and Visual Narrative Task 2 / Decisive Moment
6.5.2022 - 20.5.2022 (Week 6 - Week 8)
Takuto Hozumi / 0354047 / Bachelor Of Design (Hons) In Creative Media
Illustration and Visual Narrative
Task 2 / Decisive Moment
LECTURES
Week 6 / Perspective
A technique to reproduce three-dimensional space on a two-dimensional plane in a consistent manner. Also called perspective, it is the expressive technique that has been the foundation for the creation of many masterpieces in Western art. Various theories of perspective existed in ancient cultures such as China, Egypt, and Greece, but it was not until the Renaissance in the 15th century that it was utilized in painting.
The following four types are representative of perspectives.
- One-point Perspective
- Two-point Perspective
- Three-point Perspective
- Isometric Grid
One-point Perspective
Fig.1-1: One-point Perspective
21-Draw (2016)
A type of perspective composition with a single vanishing point. All lines in the depth direction radiate to converge on the vanishing point.
Fig.1-2: One-point Perspective 2
21-Draw (2016)
This is effective when you want to add depth to a front view composition.
Two-point Perspective
Fig.1-3: Two-point Perspective
21-Draw (2016)
Two-point perspective is a perspective drawing method in which two vanishing points are determined. This perspective is often used in manga backgrounds, for example, when drawing the exterior of a building. It is characterized by the fact that all vertical lines are perpendicular to the horizon.
Three-point Perspective
Fig.1-4: Three-point Perspective
21-Draw (2016)
In addition to the two vanishing points as in two-point perspective, three-point perspective has another vanishing point in a different direction.
One-point perspective has a vanishing point only in the vertical direction, two-point perspective has two vanishing points in the horizontal and vertical directions, and three-point perspective has three vanishing points in the horizontal, vertical and height directions.
Isometric Grid
Fig.1-5: Isometric Grid
21-Draw (2016)
A diagram showing a three-dimensional object from an oblique viewpoint. It is often used for interiors and overhead views of building hierarchies. The X, Y, and Z axes all appear equally spaced 120° apart.
Week 6 / Color basics
List of functions to be described
- line tool
- pen tool
- effect / distort / zig zag
- warp tool
- outline stroke
- expand
- expand appearances
- pathfinder merge
- isolation mode
- blob tool
- draw behind
- draw inside
Fig.1-6: Original Artwork
Fig.1-7: Wavy Lines
Fig.1-8: A Stroke Outlined
Fig.1-9: Difference between a Line and an Outlined Line
Fig.1-10: Color Scheme
Fig.1-11: Add Background Colors
Fig.1-12: Painting
Fig.1-13: Painting 2
Fig.1-14: Add Stroke in the Shape
Fig.1-15: Completed Ver.
Fig.1-16: Designed Ver.
Week 7 / Color basics
Create textures by adding shading to your illustrations by using the Grain Effect combined with linear, radial and freeform gradients.
Fig.1-17: Gradient tool
Fig.1-18: Shadow Gradient
Fig.1-19: Free Gradient Tool (point)
Fig.1-20: Added the Shadow using Point
Fig.1-21: Gradient Mask 1
Fig.1-22: Gradient Mask 2
Fig.1-23: Gradient Mask 3
Fig.1-24: Transparent window can operate for Gradient Mask
Fig.1-25: Example of using Gradient
Fig.1-26: Gradient change to Grain noise
Fig.1-27: Three Dimensional Ball
Fig.1-28: A variety of illustrations can be created
INSTRUCTION
Week 6 - Week 8: Decisive Moment
The Assessment Outline
Think of a moment in time that changed a narrative for the better… or worse. Or a scene in a movie that turned the tide of the story. Or a particular part of a video game that made you rejoice or cry along with the character. Or a memorable chapter in your favorite book that made you return to read it again and again.
These are decisive moments that impacted a story and you as an audience. Whether the moments are based on real life events or fictional narratives, human psychology is easily affected by moments like these. As a designer, you are to capture these moments and translate them into a single piece of animated artwork.
Determination of Quoted Media
Fig.2-1: My Neighbor Totoro
© 1988 Studio Ghibli
I chose the scene where Totoro (the monster) is waiting for the bus in the rain. The transition of the character's facial expressions as he uses the umbrella tool for the first time is very smooth and expressive in this scene.
My Neighbor Totoro
© 1988 Studio Ghibli
Fig.2-2: Idea sketch of the Poster
Process 1: Analysis and Framing the Video
First, I analyze the video to see what frames were available. There were about 160 frames in total in this scene, but I removed frames with the same facial expressions to simplify the process.
Fig.2-3: Framing
As a result, I found that there are about 50 patterns available.
Process 2: Creating designs in Illustrator
Fig.2-4: Tracing
The facial description of this character is very important in this scene. Because it is the first scene in which the creature is shown to be a creature with emotions, even though it has not been shown to interact directly with humans in the previous scenes.
Fig.2-5: GIF Test (In progress 5/5/2022)
This is a GIF animation testing. The number of frames is small and the colors are not yet perfect for a minimalist design.
In story, he uses leaves to shelter from the wind and rain, but now they express surprise at the use of a human tool: the umbrella. The scenes that follow lead to a climax in which the creature slowly build friendships with humans.
Process 3: Designing Poster while Tracing
Fig.2-6: Background and Typo Design in progress
While creating the animation, I also create the background and text design. By creating each on a separate layer, it is easier to mass produce the final image combined with the animation layer.
Fig.2-7: Poster Designing
Based on the above idea sketches, the poster design is determined.
Fig.2-8: Minimalist Poster Ver.1 (20/5/2022)
Since this is a minimalist design, the number of colors was decided to be monotone plus one color. I was not sure which color to adopt, the umbrella or the leaves, but as a result, I chose the leaves because of their overall appearance.
Process 4: Concatenate the beginning and end of the animation
Fig.2-9: From the End to Beginning of the Animation
In order to loop it as a GIF animation, I created a section that is not in the original. To link the animation to the end and the beginning, I added about 5 intermediate frames and drew.
Fig.2-10: Added Frames
Process 5: Output GIF animation in Photoshop
Fig.2-11: Imported All Images into Photoshop
All images were imported into Photoshop as individual layers and frame animations were created from the timeline.
Fig.2-12: Timeline
Fig.2-13: Checking the Animation on Photoshop
Fig.2-14: Animated GIF Ver.1 (20/5/2022)
Process 6: Recreate the Design after FEEDBACK
I discussed my work with my teacher in class on 27/5/2022. What I asked
was whether the look of Ver.1 is too much decoration for a minimalist
poster.
Fig.2-15: Minimalist Design Sample
From the further research, "Minimalist Design" is kind of flat design, and
it was found that the elements were reduced and only features were
captured.
The teacher's feedback and suggestions are as follows;
- Remove unnecessary details (umbrella lines, etc.)
- Make the main character (Totoro) stand out more (adjust the contrast
- with the background)
Fig.2-16: Design Changes
Based on feedback, I have simplified the background compared to the previous design.
Because I want the viewer to focus on the facial expressions, keeping the white color of the eyes and mouth, but reduced the overall tone of the body and background to emphasize contrast.
The typography was adjusted to an appropriate size for a "Minimalist Poster" without being complicated too much.
The aspect ratio has also been changed to a more impressive for poster; vertical shape.
Final Outcome
Minimalist Poster Final Outcome (27/5/2022)
Animated GIF Final Outcome (27/5/2022)
Documentation of Artwork Progress
FEEDBACK
WEEK 9
Unnecessary details (ex. like umbrella lines) should be removed when approaching a minimalist poster design. The background should be dark and the main characters should be emphasized brightly.
REFLECTIONS
Unlike the previous assignment, which was completely static, this time we had to create an animation, so we studied intermediate frames. Regarding poster design, I avoided excessive embellishment by looking at minimalist design reference materials. Nevertheless, the first design was, in hindsight, somewhat complicated for a minimalist poster, and many parts were cut when it came to the final version.
Observation
When I actually analyzed the animation frames, I realized that there were a great many intermediate frames. I knew again how much work it takes to create animations, and learned about the factors (frame rate/FPS) that make up smooth animations.
Findings
The number of colors used in minimalist posters must be small and contrasts must be clear. It is actually very difficult to capture and simplify the characteristics of a work.
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