Illustration and Visual Narrative - Project 1: Exercise

5.4.2023-3.5.2023 / Week 01-Week 05
Tan Zhao Yi / 0363285
Illustration and Visual Narrative / Bachelor of Design (Honours) in Creative Media
Project 1 / Exercises


LIST

Lectures

LECTURES

Lecture 1: Intro Vormator

We were given some tries to play The Bezier Game to get familiarise on how the pen tool works.
The Bezier Game
Then, we were given the eight vormator shapes to trace.
Vormator Shapes
Vormator Shapes Tracing Exercise

Lecture 2: Vormator
Example of Vormator Character
  • Shape
  • Shape Builder
  • Blob Brush
  • Pathfinder
To stylised design: ICONIC, SIMPLICITY, UNIQUE
Principles of Character Design:
  • Shapes
  • Colour
  • Emphasis
  • Contrast
  • Harmony
  • Expressions, Poses
Lecture 3: Colour
Colouring Vormator Characters
  • Colour
  • Gradient
  • Pattern
  • Texture
In this lecture class, we were given a vormator monster to colour on.
Vormator Colouring Exercise
Lecture 4: Illustrated Type
  • Text Tool
  • Create Outline
  • Pencil
  • Smooth Tool
  • Shaper Tool
  • Joining Paths
  • Width Tool / Converting a Line to a Path

There is a pencil tool's exercise in this lecture class. Pencil tool helps to edit a type outline into a form we want. 

Pencil Tool Exercise
Pencil Tool Exercise - 'Z'
Lecture 5: 3D

In this lecture, we are watching a tutorial video of how to create a 3D rainbow as exercise.
3D Exercise - Rainbow

INSTRUCTIONS


PRACTICALS

Project 1 - Exercise 1: Vormator Character
We are using the eight vormator shapes to design a character. I have no idea what to draw so I went to search for some good example, then I decided to design a fat dragon.
Fig 1.1. Reference
Fig 1.2. Vormator Character Progression
Fig 1.2 shows my progression of drawing a vormator character. I chose pink, purple and blue for it. I want it to convey an emotion of tenderness and sweetness, rather than a traditional terrifying, alarming dragon.
Final Submission of Vormator Character

Fig 1.3. Final Submission of Vormator Character
Fig 1.4. Vormator Character Outline View
Fig 1.2 shows my final attempt of vormator character design. I used the Bar and the Drop as its wings, then the Badge, the Cobra, the Chevron, and the Tentacle as the body structure. On its face, I used the Drop for its nose, the Wurst for its smile, the Bar, the Badge and Tentacles for its eyes. For me, the hardest part is its wings and toes because I have to control their size very neatly.
Project 1 - Exercise 2: Illustrated Type
We are requested to get two random words from Pictionary Generator. What I got is: Roast, Cranberry.
Fig 2.1. Pictionary Generator
I decided to go with two of them together. At first, I was thinking about making it the words fit on a 3D cranberry, however it fails, so I was trying to make it went outside the cranberry.
Fig 2.2. Progression
Fig 2.3. First and Second Attempt of Illustrated Type
Then I realised it doesn't express what this task actually wants, eventually I redo it. I make the words fill into a circle, shaping it like a cranberry and added some leaves on it.

Final Illustrated Type

Fig 2.4. Final Illustrated Type
Fig 2.5. Final Illustrated Type Outline View
REFLECTIONS

I was really enjoying and interested in doing this exercise. I can create my own work using my favourite shapes and colours, after Mr. Hafiz and Ms. Anis taught us about the tools in Adobe Illustrator. Beside that, I explored more different functions in Illustrator to help in my design.

FURTHER READING
Fig 3.1. Movie Comics: Page to Screen/Screen to Page by Blair Davis, Week 3 ( 20.4.2023)

This book contains 6 chapters, on below I will summarise some important note after I read it:
Chapter 1: The first chapter is centered on the movies, which were adjusting to the implementation of sound. It returns to comic strips as source material after a brief period of abandonment. 

Chapter 2: The second chapter points to early film-to-comic effort.

Chapter 3: Of great import here are the serials’ difficulties with special effects, for as Davis contends, fidelity was not paramount because producers generally believed that comics and their adaptations were intended for young audiences who would not care about authenticity.

Chapter 4: It highlights comics in the 1940s heavily appropriated the aesthetics and stories of the silver screen. 

Chapter 5: This chapter examines the many televisual adaptations that arose as television stations and ownership increased in the 1950s.

Chapter 6:  It thoroughly details the numerous ways in which the comics appropriated America’s new favourite medium.
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