Illustration & Visual Narrative - Exercise 1: The Vormator Challenge (Project 1)
MODULE COM: Illustration & Visual Narrative
27/09/2023 - 25/10/2023 : Week 1 - Week 5
Tristan Vaughan Sleep - 0365120
Typography / Bachelor of Design (Hons) in Creative Media
Task I: Exercises I
PARTICIPATED LECTURES:
WEEK 1: Module Introduction & Briefing
For our first class in the semester, our Lecturer Mr. Hafiz Zamri would introduce the cohort into our new module - Illustrations & Visual Narratives. Additionally, Mr. Zamri provided us with additional information such as where to see future announcements or what is the importance of the course. Ultimately, this course is fundamentally about developing and improving students’ creative thinking to effectively communicate narratives through the visual medium - training us to become comfortable with using Adobe programmes.
In regards of the work expected from this module, Mr. Zamri would inform the cohort about our assignments and our first Exercise - The Vormator Challenge. Due to most of the class lacking access to the Adobe Creative Cloud License, it was suggested that we should look more into the challenge and consider some designs for the actual project. It would prove useful to begin producing sketches in preparations for next week.
Additionally, we were recommended to practise some of the Adobe tools by using “The Béizer Game.” At its core, The Béizer Game is an online tool which simulates Adobe’s Pen Tool where a student would need to trace a shape using the least amount nodes.
“The Béizer Game’s “Car Puzzle” completed with the least nodes.”
WEEK 2: Vormator Challenge
This week served as a formal introduction into the Vormator Challenge as well as an introduction into the basics of Character Design. As presented by the Lecturer, a good portion of character designs is stylised - not only to support their narrative presence but also to engage the audiences. Additionally, many designs become popular because their creators focus on the main principles: shapes, colour, emphasis, contrast, harmony, expression/poses etc.
As expressed by Mr Zamri, Shape design can show stability and displays their intentions. In the example provided, heroic characters are shown to be square to create a sense of strength & balance while villains often have exaggerated triangular shapes to appear shifty, unhonest or confident. Despite this being a great lesson, it is not always applicable - often presented in youthful cartoons or in an animated film but not in more mature parts of the medium. Regardless, this concept simplifies designs into their basic shapes and can be made more unique when exaggerated.
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“Example provided: Doremon’s iconic appearance simplified.”
As specified last week, this week’s work load is mainly converting our designs to a digital format while using the restrictions posed by Vormator Challenge. We should consider using some of the new principles we’ve learnt.
“The basis for The Vormator Challenge.”
WEEK 3: Chiaroscuro
Continuing with the previous week’s lecture, Mr. Zamri expected that the cohort would continue working on our Vormator designs; however, he wanted the class to portray depth in our designs. Therefore, this week’s practical, Mr. Zamri would begin exploring an Italian Academism study on lighting: Chiaroscuro.
In essence, this study of design was created to convey realistic depth to paintings by focusing on the contrast of light and shadow. To best visualise this concept, our lecturer has provided the cohort with an extensive artboard and historical reference. For the practical side of the lecture, we would need to achieve a similar effect using Adobe Illustrator - referencing the original image of a pear. This practical would be quite informative as it opened possibilities by effectively teaching us of new tools and work-flow we could employ in future projects.
To close out the lecture, Mr. Zamri wanted us to continue experimenting with our new tools and the Chiaroscuro study by changing colour, shape and contrast of the pear while also implementing today’s practical onto our Vormator designs.
“Fig 1.3.1 - Early Study of Chiaroscuro.”
“Final Experiments with this week’s Practical.”
WEEK 4: Applying Texture with Clipping masks
For the potential last week of this Task, once again our Lecturer would hold a new practical which taught the cohort effective ways to design clipping masks - acting as a unique way to implement textures into our works. Once again, this practical would mainly be held as a way to introduce a new element into our Vormator designs if we so chose, making viewing elements of the designs less ambiguous.
To begin the practical, the cohort would return to Chiaroscuro sampling library where we would need to pick out an image and follow the original steps outlined in the previous week practical - unconventionally being a good way to determine if the information is able to be drawn from memory. Regardless, the next step was to begin filling in sections (using the Shape builder Tool for the best outcome) and combining the shadows into one layer while the light/figure remains its own layer. In doing so, the students would be able to create interesting compositions - changing elements like the background to match a layer as demonstrated below.
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“Beginning steps to introducing Clipping masks.”
However, due to the arrangement of layers, this provided an interesting way to implement clipping masks - helpful in creating more complicated and engaging designs. The most effective way to achieve this effect is to ensure that all shadows (or light) elements are a single shape using either compound paths or by using the _ pathfinder. Once completed, we need to select both the texture of choice and the layer and create a clipping mask. If performed correctly, it should be something similar to the works below.
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“Personal Examples of Clipping masks.”
To close out this lecture, we were reminded to experiment more with this task as well try to implement something similar into our Vormator Exercise though I believe it not to be fully necessary as it may conflict with the style produced due to the limitations of the artform.
Exercise I - The Vormator Challenge:
Research: Week I
To remain honest, I found the beginning steps of this Project quite difficult to start as I was not fully confident with the few ideas I had going into this project. Additionally, I became worried about the amount of detail I should put into the design as I feared I would obsess over every small detail. It did not help either that when I began looking online for some suggestions, it presented me with a series of masterful designs I wished to emulate however I knew I could never produce anything that grand. Least to say, I was not too confident going into this Project.
But in order to progress the Project, I felt that I needed to take a step back and approach the project from my interests instead of the limitations of the Project. Instead, I chose to look more into memorable character designs as well as some art styles that interested me and then see if I could relate them back to the project.
“ Examples of screenshots from ‘The Silent Age’ by House on Fire..”
One of the earliest ideas I had during this time was the simplistic yet vivid art style of the game title, “The Silent Age” produced by Indie Studio “House on Fire.” I originally considered this game title as much of its visual identity is simplified shapes and overly contrasting colour palettes which work to aid the narrative. From a character design perspective, I find it interesting that the colour red is often reserved with the protagonist which contrasts heavily with the environments he explores - often appearing colder to convey the dead state of the world. Additionally I find the choice to simplify the main character's design fascinating - being made to appear ordinary or boring. Being shaped around a square/rectangle, he is made to feel balanced with no exaggeration which is in direct opposition to his Narrative Presence - being the sole person capable of saving the world from an unseen threat. Regardless, it is a great representation of how a simplified art style can represent so much of a story.
“ Examples of Concept art for ‘Bloodborne’ from FromSoftWare.”
“Referenced pieces made by Govy ( Instagram: Govy9807 ).”
When looking deeper into some iconic designs I have been interested in, I began looking back at one of my favourite developers, “FromSoftWare” and their visually stunning titles - the one I felt the most drawn to being ‘Bloodborne.’ I’ve always enjoyed this series due to its visual identity and how it combines the High-Class Victorian era with Van Helsing-esqe elements. One the games most visually defining is the extensive character design and how it ties back in the narrative being presented in a major way. The Formal dress of the hunters works to distinguish them from their beast-like opponents which slowly blurs together in the later half of the story. Interestingly, despite the game aiming for a more stylised-realism look, the characters are often designed around triangles with exaggerated coat-tails or oversized lapels. Additionally, this exploration reminded of an artist on Instagram who was heavily inspired by Bloodborne - often emulating its design in a more simplistic art style.
“ Example of Concept art from ‘Lies of P’ from Neowiz Games.”
Relating to the previous exploration, I looked into similar ideas with similar themes - eventually rediscovering the title “Lies of P” produced by “Neowiz Games.” I was originally drawn to the title not only because I wanted to see how other material had been adapted (Pinocchio) but also because of the most striking element of the Protagonist’s design: The mechanical Prosthetic Arm. The Graphic style is reminiscent of Bloodborne’s however, it feels original due to vibrant colours and more exaggerated elements - feeling more of a gothic tale visualised. From a character design perspective, I like how the protagonist’s main feature: the Prosthetic, is often exaggerated with vivid colours or large overbearing shapes. _. With the research phase being completed, I felt more confident with my ability to start conceptualising some designs for the project. However, it would be important for me to remember to consider the limitations of the challenge as it may change the final idea.
Concepting Phase: Week I
I began experimenting with a series of sketches inspired by the referenced works above. The original idea was to create a well-dressed werewolf character and their small companion who explore through a dangerous, crippling city - using their prosthetic modifications and weapons as need be. I was mainly inspired by the characters of “Carlo & Gemini” from the title “Lies of P” as well as nondescript Yharnam hunters from “Bloodborne.” During these rough sketches, I began testing different body shapes and poses as I was struggling to try and fit things that look similar to the Vormator shapes. Although I don’t hate the designs, yet I felt like I wasn’t able to turn them into Vormators as needed. It was quite frustrating and a little demotivating as I was never truly able to get across the idea I wanted. Once I was more or less satisfied with a design, I would try to sketch it again, mainly paying attention to the shapes in order to make it easier when moving to a digital format. Ultimately the largest designs were the final designs I am considering.
Digitising Phase: Week II
For my character design, I mainly wanted to create an aura of misdirection or secrecy around them in order to make them appear as if they appear places. Hence why I decided to have them wear this large jacket and to have their face silhouetted around the hat. Additionally, I felt that they should be more offstandish to others - attempting to be captured in their more angled shaping. Conversely, I believe that their small companion should almost be a perfect contrast to their attributes; being a more approachable and friendly person. Design wise, I wanted to feel more “cartoonish” with exaggerated shapes and contrast. As for the posing of the two, I wanted it to convey the confidence and analytical nature of the largest one while the smallest one is more calm and dependent on the other.
“Digitised design in the Vormator style using Adobe Illustrator..”
Recolouring & Shadow: Week III
With the practical advice provided by the lecturer, I felt it necessary to go back to the Vormator and make more changes, mainly to the colouring to make space for shadows and depth. The First major change I decided to do was to swap the position of the lamp and the sword as A. Had to remodel the sword (Not happy with it) B. the introduction of shadows opens a new opportunity to suggest a light source. Additionally, I needed to change the colour of the characters as I previously “rendered” shadows by using separate layers using a strict colour palette. With a fresh colour, I can keep the jacket a consistent colour and easily distinguish the layers. This time, I felt more confident with the challenge as I was growing more accustom to the control scheme Adobe Illustrator.
“Ver.II of “Wulf & Corvo” with new colours, shadows and posing.”
Digitising Phase: Week IV
To For this potentially last week with this project, I wanted to introduce some texturing to the piece as a way to add more details. That being said, I found this new approach to be a little bit more distracting and it began to take away from the already established style. Therefore, with personal interest, I would prefer that the previous design remains the Final one. I tried something new to liven up the image but instead took away from the character design and made it feel like it had a clashing of style.
“Finalised image using Clipping Masks.”
Pokemon Card: Week V
To officially close out this Exercise, this week; the cohort had been instructed by the lecturer to take our Vomrator designs and format them to resemble something similar to a Pokemon card. Although this final step may appear strange on the surface, it is a unique challenge as it requires the students to utilise all the tools & techniques learnt during the first month of the module. Additionally, looking into the module itself; it could also serve to open the students up to the possibilities of creating minor narratives - centring around their completed pieces. As this will be one of our graded works (or one with heavy weighting,) I wanted to experiment and push forward with some ideas.
Despite the Lecturer of the module providing the necessary materials to create a card, i.e: the template + official cards; I instead wanted to create my own variation that didn’t rely on the original layout created by Nintendo. In essence, I mainly wanted to create the elements of the card using what I had learnt in Adobe Illustrator as I felt that would be more in line with the subject. Before beginning this process however, I first wanted to look at some example cards to draw inspiration from.
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