Illustration and Visual Narrative | Final Submission
I&VN
Final Assignment | Project 3: Parallax/Tunnel Book
10/6/17 Week 10 - 12/7/17 Week 15
Leanne Faye Tan | 0327020
Leanne Faye Tan | 0327020
Instructions
Week 10 – Week 14
An undertaking of a series of Illustrations to illuminate narrative spaces and transitions that allow to demonstrate technical and conceptual abilities.
Narratives can be conveyed in many ways. Some narratives follow a traditional linear arc. Other narratives loop in time, flash forward and back, restructure sequence or employ aspect-to-aspect transitions. Some view the same incident from different perspectives. Multiple narratives can be spliced together. Events can be placed in random order. Panels can be subverted. And several narrative threads can be simultaneously told. Narratives can be poetic. They can explore internal emotions instead of external action. They can investigate a central theme. Narratives can be shaped around predetermined rules. They can be reversed, labyrinthine in nature, and involve multiple readings with ambiguous beginnings and endings.
An undertaking of a series of Illustrations to illuminate narrative spaces and transitions that allow to demonstrate technical and conceptual abilities.
Narratives can be conveyed in many ways. Some narratives follow a traditional linear arc. Other narratives loop in time, flash forward and back, restructure sequence or employ aspect-to-aspect transitions. Some view the same incident from different perspectives. Multiple narratives can be spliced together. Events can be placed in random order. Panels can be subverted. And several narrative threads can be simultaneously told. Narratives can be poetic. They can explore internal emotions instead of external action. They can investigate a central theme. Narratives can be shaped around predetermined rules. They can be reversed, labyrinthine in nature, and involve multiple readings with ambiguous beginnings and endings.
Outcome
Based on the given narrative you are to create a series of illustration to demonstrate the passage of time that leads to the one piece or concludes it. Referring to your submitted rational, you will formulate a narrative for this passage of time and produce one out of the two following outcomes:
Fig 1.1 Tunnel Book
Fig 1.2 Webcomic
All outcomes must utilize at least 3 layers and identify 3 transitional types (Scott McCloud). The outcome may include more than one perspective point, meaning it can be viewed from back to front, right to left vice versa.
Research keywords:
Webcomic, Scott McCloud, Pop up book, hand made book, tunnel book, Webtoon
Weightage
Portfolio totals 40% of the final grades. There will be checkpoints and marks shall be awarded at the checkpoint. The total weight of this assignment is 40% of the final marks.
10 Marks for show of progress on week 10 - 11 Storytelling and storyboarding. Composition and Layers
LO1 Identify and undertake research into specific design problems or issues, and demonstrate an awareness of historical, cultural and contemporary issues.
10 Marks for show of progress on week 11 - 12 Transitions
LO5 Display evidence of creative thinking through the exploration and communication of design concepts.
20 Marks for show of progress on week 12 - 14 Creative Direction and Technical Direction. Suitability of finishing
LO2 Illustrate proficiency in the appropriate use of drawing, or other visual communication techniques in physical and/or digital environments.
LO3 Effectively use tacit making skills and/or traditional media techniques in an appropriate manner.
Note:
Though assignments may differ in category, ultimately marking criteria is based on the learning outcomes of the module. To cross reference the relationship refer to the following:
Research and Development
LO1 Identify and undertake research into specific design problems or issues, and demonstrate an awareness of historical, cultural and contemporary issues.
Creative Direction
LO5 Display evidence of creative thinking through the exploration and communication of design concepts.
Technical Direction
LO2 Illustrate proficiency in the appropriate use of drawing, or other visual communication techniques in physical and/or digital environments.
LO3 Effectively use tacit making skills and/or traditional media techniques in an appropriate manner.
Storyline
The Story Of Heaven and Hell As Told By An Ancient Samurai
The Story Of Heaven and Hell As Told By An Ancient Samurai
Early one morning, a little monk by the name of Jamyang was sitting deep in meditation when spotted something on the distant horizon – It was a solitary figure marching towards the monastery.
The monkey squinted his eyes trying to focus on the growing figure. As the figure marched closer and closer it appeared to be a warrior of some sort, a samurai possibly – he has two long swords hanging low and armour that was flapping stiffly in the wind.
This was a very long way for a samurai to travel. Interesting.
The monk watched as the mysterious figure drew closer. From what he could see, it appeared to be a ronin— a rogue with no master. He was a very large, brutish looking man with a long stride and a scowl on his face that was visible even from this distance. The monk waited calmly.
After some time the warrior eventually arrived, stopping just a few feet in front of the old monk and kicking up dust, his hands resting on the butts of his weapons. “Monk,” he hissed, “I have come to learn what you know about heaven and hell. Tell me everything.”
Jamyang did not reply. He waited until the ronin was about to speak again and said: “I will tell you nothing. You are a samurai with no master. You come uninvited, fail to introduce yourself and demand knowledge that you have not earned.”
The ronin’s face filling with anger. He opened his mouth to speak.
“Plus,” Jamyang said, “you smell like a thousand rancid cows. No one as putrid as you deserves any knowledge, let alone knowledge of the sacred.”
At this the warrior’s expression contorted with pain and he cried out, pulling his swords from their scabbards and raising them above his head, readying himself to issue the death-blow to this small, smug monk.
“That is hell,” Jamyang whispered.
The ronin froze, the swords trembling in the desert air. Slowly, realization dawned on him, his face beginning to drain of its colour.
There could be no clearer explanation. This wise old monk had risked his life to show him, through his own emotions, exactly what hell was. Overcome with gratitude he fell to his knees, tears welling in his eyes.
Jamyang said softly, “and that is heaven.”
~ A Spirit Science Rendition of a Traditional Zen Tale
Week 10
3 Act Structure
Fig 1.3 Sketch
1) Early one morning, a little monk by the name of Jamyang was sitting deep in meditation when spotted something on the distant horizon – It was a solitary figure marching towards the monastery.
2) At this the warrior’s expression contorted with pain and he cried out, pulling his swords from their scabbards and raising them above his head, readying himself to issue the death-blow to this small, smug monk.
3) This wise old monk had risked his life to show him, through his own emotions, exactly what hell was. Overcome with gratitude he fell to his knees, tears welling in his eyes.
5 Act Structure
Fig 1.4 Sketch
1) Early one morning, a little monk by the name of Jamyang was sitting deep in meditation when spotted something on the distant horizon – It was a solitary figure marching towards the monastery.
2) Jamyang did not reply. He waited until the ronin was about to speak again and said: “I will tell you nothing. You are a samurai with no master. You come uninvited, fail to introduce yourself and demand knowledge that you have not earned.”
3) At this the warrior’s expression contorted with pain and he cried out, pulling his swords from their scabbards and raising them above his head, readying himself to issue the death-blow to this small, smug monk.
4) “That is hell,” Jamyang whispered.
5) There could be no clearer explanation. This wise old monk had risked his life to show him, through his own emotions, exactly what hell was. Overcome with gratitude he fell to his knees, tears welling in his eyes.
Extra Sketch
Fig 1.5 Sketch
My Pinterest board for Parallax/Tunnel Book (includes ideas & inspiration)
Week 12
Book 1 Layer 1
Book 1 Layer 2
Book 1 Layer 3
Book 2 Layer 1
Book 2 Layer 2
Book 2 Layer 3
Week 13
First Attempt (3 act structure)
after changing decision to do laser cut.
Book 1 (with 5 layers include backing)
Book 2 (with 5 layers include backing)
Book 3 (with 5 layers include backing)
Rough measurements for frame.
Week 14
Illustrator drawing for laser cut - before amendments/feedback
(in 1.0 pt strokes for easy visibility)
Book 1
Book 2
Book 3
Collation of all frames into one art board with fill
(used values to differentiate frames and also to indicate depth)
Book 1
Book 2
Book 2
Experimenting with lights
Lights (from Ikea) attached at the back frame.
Book 1
Book 2
Book 3
Link for where to get the LED lights - http://www.ikea.com/my/en/catalog/products/70281638/
Week 15
Illustrator drawing for laser cut - after amendments/feedback
(frames that I've made changes to)
Added trees to the right side for smoother transition
Increased the size of the monk for better composition
Added trees to left side for smoother transition
Increased the size of the ronin for better composition
Final Outcome
without lights
Book 1
Book 2
Book 3
with lights
Book 1
Book 2
Book 3
All 3 books together
Footage
Final outcome without lights
Final outcome with lights
Before amendments without lights
Before amendments with lights
Feedback
Week 13
Feedback I received from Mr. Hafiz on my first attempt was that I needed to make amendments to transition from one book to another, especially book 1 to book 2. To do so, try to add trees at the right corner of book 1 to create smoother transition to book 2 because it seems a bit disconnected at the moment. Secondly, composition of the monk, having similar size of monk in 2 different books would be boring and there wouldn't be contrast. Lastly, experiment and try adding lights to the tunnel books.
Reflection
Experience
The story was easy to identify the 3 act structure but I had difficulty identifying the 5 act structure. Besides that, I spent a lot of time procrastinating about which medium I should use. I ended up choosing tunnel book because I personally love hands-on work. I started out decided on doing paper cutting and with the limited time left, I changed my mind about it and decided to laser cut it. The frame for the tunnel books are done in the workshop with assistance from Mr. Fendy (sorry if I spelled wrongly). Mr. Hafiz likes the first frame the most because it shows the most depth and contrast between the layers.
Findings
The material I used for my tunnel book is MDF Board, thickness 0.3mm for each frames and thickness 1.0cm for the border. Width of the size of the frames are 305mm and height is 203mm. Number of layers I did for each book is 5 including the backing. The tunnel books are in landscape orientation with a border of 15mm on all sides. For the framing, there is a 25mm gap between each layers. I used 2 pieces of A2 size MDF board with thickness 1.0cm and used 5 pieces A1 size MDF board for all layers including amendments.
Something I need to work on is my time management, I should stop procrastinating and start doing. I decided to change from paper cutting to laser cutting because I realized cutting manually takes up more time. I am grateful that I was able to make it in time and also able to afford a little time for amendments. I am more than thankful to Mr. Jeffrey for staying back late that day until 10-11pm to assist me until I completed the lasercut. This assignment also taught me how to operate the laser cut machine and how tedious the process is.
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