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14/10/24 - 4/11/24 / Week 4-Week 6
Brendan Fedya / 0376283
Illustration
and Visual Narrative / Bachelor of Design (Hons) in Creative Media
Task
2 Composition
TABLE OF CONTENTS
I. INSTRUCTIONS
In this task, Mr. Hafiz told us to do a background of the
Pokémon character we made in the prior task, along with the reference board.
More detailed submission requirements are provided in our Google Classroom.
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Figure 1.1: Submission requirements (10/10/24).
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II. TASKS
We were
asked to do a rough sketch about our background, then submit it to Mr. Hafiz
so that he could give feedback and asked us to revise what he deemed
inadequate. Additionally. Mr. Hafiz said that our sketches should based of
the framed ink references he gave, so that we could get a clear picture of
what we are going to do.
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Figure 2.1: Initial background sketch in Procreate
(20/10/24).
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I referred to the action shot
reference, utilizing diagonals to create tension in the artwork.
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Figure 2.2: Completed background sketch in
Procreate (20/10/24).
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After I showed my sketch to Mr. Hafiz, he
said the composition will work, just that the framing can be tighter.
Also, I could resize it to suit more with the action shot
composition.
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Figure 2.3: Action shot, framed ink reference (20/10/24).
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Based on
the advice, I proceed to the digitalization process in Adobe Illustrator;
putting my character into the background so that I could visualize how I
want it to be. I prefer my background to be more abstract and less detailed, as too much
details will clash with my character's design.
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Figure 2.3: First step, initial concept (24/10/24).
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I used
gradients to mimic the watery areas, but I still find my water vectors not
fluid enough, So, I used a tool called the twirl tool, it significantly
helps to make the water more natural. Additionally, I also added
sufficient amount of details to portray the intended background more
easily.
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Figure 2.4: Second step, with twirl tool and added details
(24/10/24).
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I added more details, but now it seems too much. Therefore,
I didn't continue with this improvisation.
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Figure 2.5: Background improvisation (24/10/24).
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For my character, I used the twirl tool again along with
the wrinkle tool. The reason of this is so that my character could
incorporate the action shot more effectively. Also, I added shadows so
that my character won't look that plain with only flat colors.
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Figure 2.6: Twirl tool and wrinkle tool on Meino's arms
(25/10/24).
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Figure 2.7: Putting shadows and additional details
(27/10/24).
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I added
shadows to the background so that the overall scene would focus more to my
character. For the sky, I put it in yellow color to resemble dawn for the
sake of my character's lore, some water effects were also included to
further incorporate the action shot.
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Figure 2.8: Clear view background with shadows.
(01/11/24).
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I felt it's still too bright and my character will
definitely be harder to notice, so I darkened the overall background
with a layer I made, acting like a screen. And here's the end result
along with the story:
In a vast endless jungle, beneath an infinite canyon where the fallen
heroes from the Legendary Conflict were buried, lies a mystical
wood-like entity named Meino. This being, born from the heart of the
Earth, exists only for the purpose of protecting Mother Nature, but has
remained unseen by people for centuries.
Little did they know, this entity was the one who ended the Legendary
Conflict, but in return unintentionally splitted the Great Forest into
two, because of its failure to control its powers, causing countless
casualties, including the fallen heroes, and also numerous
disasters.
Misunderstood by many, it chose to seclude himself away to train in
solitude, seeking the essence of nature so that he could truly harness
its powers and protect Mother Nature by itself.
The fallen heroes who were its comrades before, now exist as spirits
guiding Meino through the ancient totems in its head. These were gifts
bestowed upon Meino right before their demise. Their last wishes were to
always protect the pure Meino, from this tainted, corrupt world.
Each dawn, Meino meditates silently in the tranquil waters below the
canyon with howling winds blowing over, becoming one with the nature. As
the power of nature succumbs to its heart, it begins to glow, which
commences the start of its martial training until dusk.
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Figure 2.9: Final illustration 'Meino' (01/11/24).
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Figure 2.10: Final reference board (02/11/24).
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For
the Pokémon card, I browsed a website that provides the card
template, which I could just insert my illustration and all the details (
name,ability,powers) in it.
Click here to the website.
I stacked 2 illustration of the environment
to create an abstract background for the card, because my original
environment is already abstract-styled.
For the ability, I put the term
'spirit' to correlate with the mask in the head, and 'emerald wind' refers to the character's movement that connects with the environment. I
just put random description to make it according to a traditional formatted
Pokémon card.
The ability named 'Kukonochi' is a
Japanese term used for the god of trees, I took a Japanese term because the
name is also derived from a Japanese word, also the originality of Pokémon
is from Japan. I used fighting and grass types for the energy symbol of the
powers, because only these 2 types correlate accurately with my character.
Here's the final result of my Pokémon card:
III. REFLECTIONS
When I did
this task, one of the biggest challenges is to ensure the character match the
background in a Pokémon aesthetic. Maintaining harmony between the environment design and the character is also an important factor to look on, as it will look exponentially better with it.
What truly is exciting was we can still make refinements to our characters to let them achieve their true potential, applying shadows using pathfinder and the shape builder tool, even making from scratch without using vormator elements! (even though I'll skip on the last one because my drawing skills are lacking.)
On the other hand, we could also become
confused about how we’re going to start, because there are too many features
and tools to use in Adobe Illustrator. Therefore, a deeper understanding and research of
the software is a must to develop a truly polished design. Mr. Hafiz has also helped a lot in familiarizing the features during his practical sessions in class.
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