ILLUSTRATION AND VISUAL NARRATIVE ✿ FINAL PROJECT ✿
ILLUSTRATION AND VISUAL NARRATIVE ✿ FINAL PROJECT ✿
26.06.23 - 14.07.23
week 13 - week 15
✿ TAN JIA JIA 0350577 ✿
Bachelor of Design (Honours) in Creative Media
✿ LECTURE RECAP ✿
The final design for the Illustration and Visual Narrative project is a
one-page comic that introduces the selected story. The design process involved
research, ideation, and digitalization, resulting in a visually compelling
outcome. The challenge was to maintain consistency with the previous project's
story and design aesthetic. The final design effectively conveys the story's
message through sequential visuals and includes an animated panel for added
dynamism. Overall, the design showcases creativity, storytelling skills, and
proficiency in digital illustration techniques, capturing the audience's
attention and imagination.
✿ INSTRUCTION ✿
Figure 1.1 Module Information Booklet of Illustration and Visual
Narrative
✿ 1.0 IDEA DEVELOPMENT ✿
1.1 Design Research
Act 1 - Setup
The story of "Hop-Frog" unfolds in an unspecified kingdom's palace, where a
king known for his love of practical jokes and disregard for others reigns.
Hop-Frog, a dwarf jester with a deformed figure, serves in the court
alongside his companion Trippetta. Both suffer mistreatment and humiliation
at the hands of the king and his courtiers. However, Hop-Frog's resilience,
wit, and burning desire for justice remain intact. As a grand masquerade
ball is announced, Hop-Frog sees an opportunity for revenge. With a
carefully devised plan, he unleashes his retribution, exposing the cruelty
and injustice of those who have wronged him and Trippetta.
Act 2 - Conflict
The king announces a grand masquerade ball in the palace, demanding everyone
wear costumes. Hop-Frog sees an opportunity for revenge and proposes a
special performance. Unknown to the court, he and Trippetta secretly prepare
costumes resembling chained orangutans. At the masquerade, they surprise
everyone, masquerading as the creatures. The courtiers mock them,
unknowingly fueling Hop-Frog's plan. He sets the costumes ablaze, causing
panic. In the chaos, Hop-Frog overpowers the king and courtiers, escaping
with Trippetta. The story highlights Hop-Frog's determination for justice
and poetic retribution against those who mistreated him, leaving the
courtiers to face the consequences of their cruelty.
Act 3 - Resolution
Amidst the ensuing chaos, Hop-Frog utilizes his strength and agility to
overpower the king and the courtiers, successfully avenging himself. With
his plan executed, Hop-Frog and Trippetta manage to escape from the palace,
leaving the courtiers to confront the consequences of their cruel behavior.
I have conducted some research for the second act, focusing on the conflict.
Act 2 - Conflict
The story of Hop-Frog revolves around a revenge plot orchestrated by the
protagonist, Hop-Frog, a court jester. The king announces a grand masquerade
ball, setting the stage for Hop-Frog's plan. Hop-Frog, along with his
companion Trippetta, secretly prepares costumes resembling chained
orangutans. At the masquerade, they surprise the courtiers by masquerading
as creatures, creating a sense of amusement and mockery.
Unbeknownst to the courtiers, their mocking and ridicule provide fuel to
Hop-Frog's plan for vengeance. He sets the costumes ablaze, creating chaos
and panic among the attendees. In the midst of the confusion, Hop-Frog takes
the opportunity to overpower the king and his courtiers, finally escaping
with Trippetta.
The story showcases Hop-Frog's determination for justice and his desire for
poetic retribution against those who mistreated him. It highlights the
consequences of cruelty and the power of one's will to stand up against
injustice. Hop-Frog's act of rebellion ultimately leaves the courtiers to
face the repercussions of their actions, delivering a powerful message about
the consequences of mistreating others.
1.2 Ideation
After researching the second act, I began sketching the comic to capture the
conflict.
Figure 2.1 Sketches
In the first scene, I depicted Hop-Frog and the king together to convey the
success of Hop-Frog's scheme. In the second scene, I incorporated the design
from the Digital Triptych, depicting Hop-Frog hanging from a chain with a
torch. Lastly, in the final scene, I utilized the concept from the second
design of the Digital Triptych as well. I portrayed the king wearing the
chimpanzee outfit, but in this scene, I transformed the living king into a
skeletal figure, symbolizing his demise caused by Hop-Frog's revengeful act of
setting him on fire.
✿ 2.0 DESIGN PROCESS ✿
2.1 Digitalization
Based on the sketches, I decided to create only three scenes, which will save
time and allow for quicker progress. I opted not to create a frame for the
comic as the frame would be white, so I proceeded directly with creating the
first scene.
Figure 3.1 First scene created
After creating the first scene, I utilized the "Knife Tool" to trim away the
unnecessary parts.
Figure 3.2 trom away the unnecessary parts.
After completing the first scene, I proceeded to create the background for the
second scene. It took some time to adjust the spacing between the first and
second scenes to ensure a seamless transition. After being satisfied with
the spacing, I cropped out the hop frog that I had created in the Digital
Triptych and pasted it onto the background for the second scene. This allowed
me to incorporate the character seamlessly into the overall composition.
Figure 3.3 Second Scene
In the last scene, I began using the pen tool to meticulously draw out the
skeleton based on my sketch. This required careful attention to detail and
precision in order to capture the desired skeletal structure and form.
Figure 3.4 Skeletons
Figure 3.5 Outline of Final Design
Figure 3.6 Final Outcome
2.2 Animation
After completing the creation of the comic, I proceeded to utilize After
Effects, a software introduced by Mr. Martin in the Digital Photography and
Imaging class. In After Effects, I explored various animation techniques and
effects to enhance the visual storytelling of my comic. This included adding
motion to the panels, creating smooth transitions between scenes, and
incorporating dynamic elements to bring the narrative to life.
Figure 4.1 After Effects
Using the puppet warp feature in After Effects, I applied it to the fire,
smoke, and skeleton in my animation. This allowed me to manipulate and animate
these elements with more control and precision. By distorting and bending the
fire and skeleton using the puppet warp tool, I was able to create dynamic and
realistic movements, adding an extra layer of visual interest to my animation.
Figure 4.2 Puppet warp
I found the animation part to be easier since I have a preference for video
editing. With my experience and skills in editing videos, I was able to bring
my vision to life by animating the different elements of the comic. I utilized
various techniques and effects in After Effects to enhance the visual appeal
and flow of the animation. This allowed me to create a captivating and
seamless animation that effectively conveyed the story of "Hop-Frog."
Final Outcome
Figure 4.3 Final Outcome
✿ REFLECTION ✿
This project provided me with the opportunity to explore storytelling through visual art and animation. I analyzed the story of "Hop-Frog" and transformed it into a digital comic and animated sequence.
Creating the digital comic was a challenging yet rewarding process. I sketched the scenes and characters in Adobe Illustrator, paying attention to the details and maintaining the story's atmosphere. Using editing tools like the knife tool, I refined the images and ensured a smooth transition between panels.
The animation stage brought the comic to life using After Effects. I utilized the puppet warp tool to animate specific elements, such as the fire and the skeleton.
Overall, this project deepened my understanding of visual storytelling and improved my technical skills in digital illustration and animation. I look forward to applying this knowledge to future projects and exploring new techniques and styles in my creative endeavors.
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