Illustration & Visual Narrative Task 3

29.11.2023 - 6.12.2023 (Week 10 - Week 11)

Ruthlene Chua Zhen Si 0365222 

Bachelor of Design (Honours) in Creative Media -Illustration & Visual Narrative

Task 3

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LECTURE

Week 9：Transition 

Mr. Hafiz taught us transition by using comic, artboard, ancient paint as examples to complete the rest of the assignment. 

• Types of transition:
1. Moment to Moment: Ones in which need “little closure”
2. Action to Action: Show a single subject progressing through a specific movement
3. Subject to Subject: Stays within a specific scene or idea and call for more reader involvement
4. Scene to Scene: Take place across significant distances within time and space.
5. Aspect to Aspect: Stops time to provide multiple viewpoints of the same scene in order to establish a specific mood, feeling or emotion
6. Non Sequitur: An unrelated sequence of characters, scenes, and objects

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INSTRUCTIONS 

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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 panel 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.

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Task 3: Week 10 - 11 —— Digital Triptych - Exploring Scott McCloud's Transitions

Before starting: Research

• I would like to do the subject to subject artboard. Therefore, I search few of the information online to make greater understanding of it before starting my sketches and drawings. We are required to do before and after panel which is connected with the previous assignment (task 2) urban legend story. 

Cautious: 

1. Consistent Style: Maintain visual consistency between artboards.
2. Visual Continuity: Ensure a logical and smooth progression between subjects.
3. Story Flow: Let the transition serve the story or narrative.
4. Transitional Elements: Use cues or details to link the subjects cohesively.
5. Clarity and Readability: Keep the transition clear and understandable.
6. Emotional/Narrative Continuity: Avoid jarring changes unless intentional.
7. Feedback and Testing: Get input and test the transition's effectiveness.
8. Technical Considerations: Ensure compatibility and quality in digital formats.
9. Timing and Pace: Pay attention to movement timing for natural transitions.
10. Iterative Process: Be open to refining and adjusting the transition as needed.

Then: Do sketches and reference for the before and after template

Reference: Online search 

Figure 1.0: Reference of "before" 

Figure 1.1: Reference of "before" 

Figure 1.2: Reference of "after" 

Figure 1.3: Reference of "after"

• First template (before): This is the scene when the little boy hears a women screaming outside the window and he was awake in the hotel bed.  

Figure 1.4: Template "before" of the urban legend story 

• Third template (after): This is the scene when the little boy was possessed by the green ghost, and he faint. The picture shows that the green ghost spirit was floating on the air. 

Figure 1.5: Template "after" of the urban legend story 

Digitization: On AI

After get a second confirmation of sketches from Mr. Hafiz, I digitized it on AI.

Figure 1.6: Digitization of “before" and "after" 

After getting feedback from Mr. Hafiz, I make some adjustment. It has been suggested that I give the little child a close-up screen so that I may concentrate more on his facial expressions. 

Figure 1.7: Adjustment of "before" screen

The same is true of the "after" artwork; according to Mr. Hafiz, the ghost will seem more if it merely displays its lower body and there's no need to create a screen that resembles the climax moment. As a result, I moves the ghost to a higher location. 

Figure 1.8: Adjustment of "after" screen

Final artwork

Following the correction, I add colors to the artboard that have a "grain" or gradient appearance. Then it's finished. 

Figure 1.9: Final Composition of "before"

Figure 2.0: Final Composition of "after"

Final Digital Triptych (3 Panels)

Figure 2.1: Final Digital Triptych

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FEEDBACK

Week 10 Online: I messaged Mr. Hafiz to make sure my sketches, we both confirm the type of transition and continue proceed to digitized.

Figure 2.2: Feedback of sketches

Week 11 Physical: Mr. Hafiz informed me in person, responded to my comments in class, and assisted me in making some changes to the "before" and "after" artwork. He instructed me to get a close-up shot of the boy and to change the scene's horizon so that the boy would felt more like fainting not sleeping.

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REFLECTIONS

Experience

In this particular assignment, we are taught to learn the types of transition and to apply them into our task. Every scene has the potential to directly influence the elements that the designer intended to convey to the viewer. Feedbacks are given clearly, therefore there are plenty of growing spaces for us to improve and also master our artwork.

Observation

I've come to realize how important transitions are in comics since they bring disparate pieces together, help the story move forward, arouse feelings in the reader, and have a big influence on how the reader perceives and engages with the tale. For comic book authors to properly tell their tales and engage readers, they are a vital tool.

Findings

I discovered that mastering gutters and transitions isn't only about story flow; it's also about creating emotional resonance that lingers, giving viewers a compelling emotional experience with comics.