ILLUSTRATION AND VISUAL NARRATIVE / TASK 2 : DECISIVE MOMENT

08.11.2023 - 16.11.2023

Graciella Limpah / 0364517 

Illustration and Visual Narrative / Bachelor of Design (Honours) in Creative Media / Taylors University 

Task 2

---

LECTURES

Perspective

The art of representing three-dimensional objects on a two-dimensional surface so as to give the right impression of their height, width, depth, and position in relation to each other.

Construct Perspectives :

Your visual should capture these rules on

fig 1.1 Construct perspective

One-point perspective

The most simple method of producing three-dimensional images entails drawing your objects emerging from a single point on the horizon. As images get closer to the vanishing point the smaller they become, until they become so small they actually vanish completely.

fig 1.2 One point perspective

Two-point perspective 

There are vanishing points on either side of the horizon, and the objects and buildings within the scene are drawn to both of these vanishing points. This can help create a greater sense of space in a scene and helps give objects more of a sense of dimension and place. Place two vanishing points on the horizon and establish two sets of overlapping perspective lines fanning out from them. This network of lines allows objects to recede toward two separate points, allowing more dynamic views than that one point alone.

fig 1.3 Two point perspective

Three-point perspective 

Usually consists of two vanishing points on opposite sides of a horizon (as in two-point perspective), but with the addition of another vanishing point high above or below the horizon. This is most useful to achieve a sense of drama and scale, or to show more objects in a single scene.

If the vanishing point (which is not connected to the horizon) is a great distance from the horizon, the intensity of the angle will be less than if it were placed close to the horizon (which creates a more extreme viewing angle). A third vanishing point on the vertical axis gives you a far broader range of angles, and really allows your viewers to “look down” into your city.

fig 1.4 Three point perspective

Isometric view

For creating detailed concepts of individual buildings, it’s more beneficial to use a simple isometric

view, since it allows you to clearly present three sides of your design without distorting perspective or

obscuring details.

fig 1.5 Isometric View

Dynamic Application

While perspective is extremely useful and can be applied to almost any illustration or scene, it doesn’t need to be rigid or boring, and you don’t need to adhere to the perspective method in a strict way.

Week 7 :

• Learning about gradient and texture to make our art deco style look better.
• Mr Hafiz brief us about angle and perspective

---

INSTRUCTIONS

---

TUTORIAL AND PRACTICAL

For this task, we are asked to choose one urban legend for us to make it into illustration with deco art style. As for this task, I choose Jalangkong for my urban legend.

Rationale

Once, in a quiet village surrounded by dense jungles in Malaysia, there lived a young woman named Siti. She was known for her beauty and kind heart, which attracted the attention of many admirers. Among her suitors was a mysterious man named Ahmad, who arrived in the village one day. Ahmad was an enigmatic figure who was believed to possess knowledge of dark magic. Despite his mysterious nature, Siti found herself drawn to him. Against the warnings of her family and friends, she decided to marry him. After the wedding, Siti and Ahmad moved into a small house on the outskirts of the village, near the dense forest. As the days passed, Siti began to notice strange and unsettling things about her new husband. He would often disappear into the forest for long periods, claiming that he was searching for rare herbs and roots. One evening, as the sun set and darkness began to creep over the horizon, Ahmad told Siti he needed to venture into the forest again. This time, he warned her not to follow him and to lock the door securely until he returned. Siti agreed, but as the hours passed, her worry grew.

Unable to bear the uncertainty any longer, Siti decided to follow Ahmad into the forest. She was guided only by the faint glimmer of a fire deep within the woods. The journey was treacherous, with thick foliage and eerie sounds surrounding her. As she reached the heart of the forest, Siti stumbled upon a horrifying sight. There, in a clearing, she saw Ahmad's true form. He had transformed into a Jerangkong, a grotesque, headless creature with entrails dangling below. Ahmad's head was placed on a stump, detached from his body. The Jerangkong was busy devouring the flesh of animals it had hunted. It was then that the Jerangkong noticed Siti's presence. The creature turned toward her, its eyes filled with malevolence. Siti, terrified, turned and fled as fast as she could, with the Jerangkong in relentless pursuit. She managed to make it back to her village and, with the help of the villagers, secured her home against the creature. Realizing that she had married a man with dark and unnatural powers, Siti resolved to confront Ahmad. She discovered that he had been using black magic to transform into the Jerangkong and terrorize the villagers. With the help of a wise elder in the village, they confronted Ahmad and ultimately banished him from the village.

References

I am trying to sketch and visualize what the climax is. Which is underlined in the rationale above. So, I try to sketch when Siti surprised seeing her husband turned into Jalangkong with no face on his body.

fig 2.1 References

Sketch

fig 2.2 Attempts 1 of sketching

Details from my sketch is Siti for the foreground, Jalangkong for the mid ground, and trees for the background. After sketching, I try to digitalize my work. After receiving feedback from Mr.Hafiz, he said that my sketch looks a little bit flat and no dimension, so I try to re-do my sketch.

fig 2.3 Attempt 2 of sketching

After asking feedback from Mr.Hafiz, I realize that the jalangkong body should not view the viewers, it should be facing backward. So, I change my sketch again. Additionally, Mr.Hafiz asked me to refer to the 'Framed Ink' PDF he had provided, so I try to look through it and wanted my sketch to refer to

fig 2.4 Overpowering upshots

Looking through the shot, I draw my jalangkong bigger and make more dimension to the girl looking to the jalangkong. And here is my final sketch :

fig 2.5 Final attempt of sketching

After sketching, I try to digitalize my artwork.

fig 2.6 Digitalize

Then, I try to add colors, gradient, and noise to it

Final Digitalization

fig 2.7 Final Digitalization

fig 2.8 Final Animation

Week 7 : Transparency, Gradient and Noice

We learn how to create textures by adding shading to your illustrations by using the Grain Effect combined with linear, radial and freeform gradients. At first, we are asked to make three triangle shape and put grain effect to it as an exercise.

 fig 3.1 before putting gradient and effect

fig 3.2 after putting gradient and effect

Then, we are asked to put gradient and effect to this illustration.

fig 3.3 before gradient and effect

fig 3.4 after gradient and effect

---

FEEDBACK

Week 7

General Feedback : Do not make too complicated, this is just an art deco style, so make it simple. Need to have perspective on the illustration. Draw the climax of the story, not just think of what we wanted to draw after reading it.