Illustration &; Visual Narrative - Task 3

2023.11.27 - 2023.12.4 / Week 10 - Week 11

Velicia Raquel Dewi Setiawan / 0369188 / Bachelor of Design (Honours) in Creative Media

Illustration and Visual Narrative

Task 3

JUMPLINK:

• Task 1 | Vormator Exercises
• Task 2 | Decisive Moment
• Task 3 | Digital Triptych
• Task 4 | Self Titled
• Final Compilation &; Reflection

1. LECTURE

Week 10 - Online Class (Oct 27, 2023) Digital Triptych

1. Hieronymus BOSCH

In the Garden of Earthly Delights, Bosch painted three scenes that share the single common denominator of the concept of sin, which starts in Paradise or Eden on the left panel, with Adam and Eve, and is punished in Hell o the right panel. The center panel depicts a Paradise that deceives the senses, a false Paradise given over to the sin of lust.

Fig 1.1 The Garden of Earthly Delights Triptych, Bosch, Hieronymus, Week 10(Nov 27, 2023).

2. Gestalt Law of Closure 

The Gestalt law of closure states that the human mind seeks to create coherence. If presented with a stimulus such as an image that contains missing elements, the mind will fill in those gaps to create the perception of a completed image.

Fig 2.1 Example of Closure, Week 10(Nov 27, 2023).

Fig 2.2 Example of Closure, Week 10(Nov 27, 2023).

Fig 2.3 Example of Closure, Week 10(Nov 27, 2023).

3. Continuity

Fig 3.1 Example of Continuity, Week 10(Nov 27, 2023).

Fig 3.2 Example of Continuity, Week 10(Nov 27, 2023).

4. Point of View

Fig 4.1 Example of Point of View, Week 10(Nov 27, 2023).

Fig 4.2 Example of Point of View, Week 10(Nov 27, 2023).

Fig 4.3 Example of Point of View, Week 10(Nov 27, 2023).

5. Transition and Gutters (Scott McCloud)

5.1 Gutters

If one were to look at a comic they would see empty space between the panels that contain the illustrations and dialogue of the text. In the comic world, this space is known as the gutter.  The gutter is essential for comics to be successful because it allows for closure to happen. 

Fig 5.1.1 Example of Gutters, Week 10(Nov 27, 2023).

In the first panel, there is a man about to be attacked by another with an axe. In the next panel, we simply see a deathly scream rising from a cityscape. It is left up to us to decide what exactly happened between these two scenes. How did the man die? Where did the axe fall? Could the man have been saved and the scream was coming from the axe bearer? 

5.2 Transitions

Moment-to-Moment transitions show basic movements occurring.

Fig 5.2.1 Example of Moment-to-Moment, Week 10(Nov 27, 2023).

Fig 5.2.2 Example of Moment-to-Moment, Week 10(Nov 27, 2023).

Action-to-Action transitions show a single subject progressing through a specific movement. 

Fig 5.2.3 Example of Action-to-Action, Week 10(Nov 27, 2023).

Fig 5.2.4 Example of Action-to-Action, Week 10(Nov 27, 2023).

Throughout Frank Miller’s Batman: The Dark Knight are many fight scenes between Batman and his foes in which action-to-action transitions are utilized. Action-to-action transitions are widely used for fight scenes because they allow for details such as punches, kicks, and the use of weapons to be showcased.

Fig 5.2.5 Example of Action-to-Action, Week 10(Nov 27, 2023).

Subject-to-Subject transitions stay within a specific scene or idea and call for more reader involvement. 

Fig 5.2.6 Example of Subject-to-Subject, Week 10(Nov 27, 2023).

Fig 5.2.7 Example of Subject-to-Subject, Week 10(Nov 27, 2023).

Tantrum by Jules Feiffer consists of almost all subject-to-subject transitions. These transitions are a good example of how Feiffer displays progression throughout Tantrum.

Fig 5.2.8 Example of Subject-to-Subject, Week 10(Nov 27, 2023).

Scene-to-Scene transitions take place across significant distances within time and space. 

Fig 5.2.9 Example of Scene-to-Scene, Week 10(Nov 27, 2023).

Fig 5.2.10 Example of Scene-to-Scene, Week 10(Nov 27, 2023).

Will Eisner use a scene-to-scene transition in his work A Contract With God? To effectively communicate that Frimme Hersh took care of his daughter, Rachele, from the time she was a baby, Eisner uses scene-to-scene to show the growth of the child under Hersh’s care.

Fig 5.2.11 Example of Scene-to-Scene, Week 10(Nov 27, 2023).

Aspect-to-Aspect is unique in that it shows different aspects occurring simultaneously within the same scene. 

Fig 5.2.12 Example of Aspect-to-Aspect, Week 10(Nov 27, 2023).

Fig 5.2.13 Example of Aspect-to-Aspect, Week 10(Nov 27, 2023).

An example of an aspect-to-aspect transition from Stan Lee and Jack Kirby’s The Silver Surfer. The whole page is taken by one large transition showing the reactions of people when first seeing the Silver Surfer. This is an effective use of aspect-to-aspect to emphasize how various people would react to an alien life form. The transition works because the reader can see how numerous people are reacting to the silver surfer.

Fig 5.2.14 Example of Aspect-to-Aspect, Week 10(Nov 27, 2023).

Non-Sequitur provides no logical connection between panels.

Fig 5.2.14 Example of Non-Sequitur, Week 10(Nov 27, 2023).

2. INSTRUCTIONS

Task 3 - Digital Triptych

The objective of this assignment is to apply Scott McCloud's theory on transitions to create a digital triptych, comprising three panels: one before, one during (climactic turning point), and one after a significant event. Each panel will represent a different transition type from McCloud's theory.

Referencing Scott McCloud's analysis of transitions in "Understanding Comics," you will select one panel before and one after the climactic turning point, surrounding a panel representing the turning point itself. Each panel will exemplify a different transition type, creating a digital triptych that showcases various narrative transitions.

• Review of Scott McCloud's transitions: moment-to-moment, action-to-action, subject-to-subject, scene-to-scene, aspect-to-aspect.
• Select one transition type for each of the three panels: before, during (climactic turning point), and after the turning point.
• Identify specific moments or elements in the narrative that align with the chosen transitions.
• Create a digital triptych with three panels that clearly illustrate the chosen transitions.
• Use any digital medium (illustration software, graphic design tools, etc.) to craft the panels.
• Ensure coherence and narrative flow between the panels, capturing the essence of the transitions selected.
• Submit the completed digital triptych via the designated platform.
• Include a brief explanation for each panel, detailing the chosen transition and its significance in the narrative context.
• Ensure that each panel distinctly represents its respective transition type.
• Understanding and application of Scott McCloud's theory on transitions in creating the digital triptych.
• Clarity and effectiveness in using each transition to depict the sequential narrative.
• Coherence and visual storytelling across the three panels.
• Artistic execution and presentation of the digital triptych.

Marking Criteria

This assignment contributes 20% towards your final grade. Grading will consider adherence to 

• Instructions
• Effective application of transitions
• Narrative coherence
• And artistic presentation within the digital triptych.

Timeframe

Week 10 – Week 11 (Deadline on Week 11)

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3. WORK PROCESS DECISIVE MOMENT

3.1 Research

Rationale

Fig 3.1.1 Urban Legend Illustration, Week 10(Nov 27, 2023).

We are using the previous urban legend illustration for the center panel because mine illustration already looks in motion, I figured the easiest way is to use action-to-action for the other panels. 

Sketch

This is the sketch that I came up with, pretty straightforward the first is pretty straightforward, a mid shot so we can the expression clearly of someone running looking scared, and panicked. the goal is to make the reader wonder why are they scared, and what are they running from. 

Then the second panel gives (closure) to those questions revealing what is the person running from, the ghost.

And in the last panel, the person got further away from the ghost (closure, yes they got away safely), whether it be because the ghost just simply doesn't want to chase them, or maybe the ghost just can't leave, or maybe mercy.

For the sake of continuity, I always put the person on the left side and the ghost on the right side so it's easy to discern and use the same backgrounds from the sky, grass, bridge, and more. 

Fig 3.1.2 Sketch #1, Week 11(Dec 4, 2023).

Fig 3.1.3 Sketch #2, Week 11(Dec 4, 2023).

I changed the point of view for the first panels so it have more dynamic to it. 

I realized there's also a subtle subject-to-subject in the panels. from the mid shot on the first panel to the ghost on the second panel. 

Moodboard

Fig 3.1.4 Moodboard, Week 10(Nov 27, 2023).

It's the same as the last one with a few changes to the finished urban legend illustration. still with the color red for the ghost but added blues and oranges for the skies and the person.

3.2 Digitizing

Fig 3.2.1 Digitizing #1, Week 11(Dec 4, 2023).

I made the digitized version on Adobe Illustrator with pen tools and gradient. For the background, I just copied it from the center illustration. for the person on the first panel, I used an orange and brown color palette to make sense of the orange shoes on the second panel. The bridge and the ghost color palette are also the same as the center panel. I haven't done the details yet because I want to ask for approval from Mr. Hafiz first.

Fig 3.2.2 Digitizing #2, Week 11(Dec 6, 2023).

Mr Hafiz said it was okay so I continued to add details to the illustration using the knife tool to continue the same style of the center panel and changing the colors of the tree so it's the same color palate. Originally this is the end product, but after I watched some tutorials on YouTube, I wanted to add more to it adding a moon and a gradient with blurs to make lights(for the ghost and the moon) and mists around. 

Fig 3.2.3 Digitizing #3, Week 11(Dec 8, 2023).

I thought it looked way better than before so I added more and did the same to the other panels. It's a bit tedious to add all of the extra stuff to all of the panels, but it's definitely way better than before. I'm quite proud of myself.

Fig 3.2.4 Procces, Week 11(Dec 8, 2023).

Fig 3.2.5 Procces, Week 11(Dec 8, 2023).

Fig 3.2.6 Procces, Week 11(Dec 8, 2023).

3.3 Final Result

Fig 3.3.1 Final Artwork, Week 11(Dec 8, 2023).

4. FEEDBACK

Week 10

General feedback: Did not ask for feedback.

Week 11

General feedback: Mr Hafiz said everything looks good from the sketches and the digization.

5. REFLECTION

5.1 Experience

It was hard to do the sketches in the beginning, I was confused about what to make even with the explanation from Mr. Hafiz about the transition. But I did it eventually.

Digitizing it was way more fun, I did it in less time than I thought, and after watching some tutorials on YouTube I was surprised to know that Adobe Illustrator can make such a masterpiece. Overall I enjoyed this task and it was really fun to do 

5.2 Observations

There is a lot you need to pay attention to when making comics, There are a lot of transitions to use for comics some more often used than others, there is closure, make sure there's continuity to guide the reader's eyes, and make more sketches from different points of view, to see what's better for certain scenes, gutters

Also, there are a lot of tutorials on YouTube on Adobe Illustrator and a lot of them have insightful tips and tricks to add to your design, i particularly liked the play on gradients and blurs.

5.3 Findings

You need to know the point of view of the panels (sketch some first to find the best one), and make sure there's continuity in the panels. There are a lot of transitions that comics can have some more often used than others. Watch other tutorial sources to learn more tips and tricks to elevate my own. Again don't procrastinate and ASK for feedback

6. FURTHER READING (Framed Ink)

Analyzing a Still Composition

Fig 6.1 Composition Analysis, Week 11(Dec 4, 2023).

1. If the space between them is clear of obstacles, the impression will be their communication is fluent and positive. Also, if they are both equally lit, the feeling of personal balance between the two will be emphasized.

Fig 6.2 Composition Analysis, Week 11(Dec 4, 2023).

2. On the contrary, if we position visually heavy elements between the two characters, the visual dialogue between them will be somehow broken. The feeling will be accentuated the moment their respective backgrounds are different, literally placing them in "different spaces."

Fig 6.3 Composition Analysis, Week 11(Dec 4, 2023).

3. If one of them is lit while the other remains in the shadows, the lit person might have more positive intentions than the one who is not.

Fig 6.4 Composition Analysis, Week 11(Dec 4, 2023).

4. When one of the characters is lit in a way that offers a bigger tonal contrast than the other, our eye will go straight to that person (the man, in this case), giving him a bigger visual relevance.

Establishing Shot

Worlds should be established early into the development of a story. The emotional tone of it, the "rules of the game," the basic frame in which the narration will unfold, is usually presented to the audience right at the beginning. 

Fig 6.5 Establishing Shot, Week 11(Dec 4, 2023).

Here everything is a lot more organic and relaxed. First off, we have many more textures and depth clues in the scene, like the sense of perspective implied by the car in the foreground and in relationship to the group of teenagers in the middle ground and then the houses in the very background. The faces we see in the shot are also clearly exposed, their smiles obvious, and their clothes, evidently from the '50s (the same period already established by the car), follow the individual taste of each girl and boy. All this is the world of these Southern California teenage characters, a world that sets the right mood for "the story we are about to tell."