ILLUSTRATION/IVN FINAL PROJECT; COMIC COVER AND ANIMATED ONEPAGE INTRO

 

||  05/06/24 – 05/07/24 
||  Sun Jia Yi / 0370449
||  Illustration and Narrative / Bachelor of Design (Hons) in Creative Media
||  Exercise 3: Comic cover and Animated one page intro

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LECTURERS 

Week 11

1. Central theme

It is the central notion or implicit meaning. It's frequently the storyteller's subjective viewpoint on the issue. There can be major and minor themes in a story.

The main theme of the story is an idea that recurs and is woven throughout.

Minor Theme: A thought that emerges more subtly and isn't always repeated.

2. Conflict

The tale is driven by the struggle. It builds suspense and anxiety. An audience is drawn in by conflict. 

3. Characters

A story typically has a cast of characters, each with a distinct function or goal.

Central Character: A story's primary character

The protagonist is the main character in a story who usually has a conflict to resolve or a specific objective to achieve.

Antagonist: Antagonists stand in opposition to protagonists.

3. Three Acts Organisation

Setup: An overview of the world in which the main character lives.

Growing Tension: The array of challenges the main character must face

Conflict: The most tense situation.

Resolution: The process of ending the conflict.

Fig. 1.1 Acts Structure, Week 11

Week 12

Mr. Hafiz asked that we use the two-act structure to analyse the chosen story. The section we wish to visualise—the opening, the building action, the climax—must be highlighted. Mr. Hafiz presented the sequential art style, which tells stories through visuals. 

There are some common transitions: 

1. Moment-To-Moment
2. Action-To-Action
3. Subject-To-Subject
4. Scene-To-Scene
5. Aspect-To-Aspect

Fig. 1.2 Different types of transitions, Week 12

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INSTRUCTIONS 

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Final Project 

2.1 Comic cover 

2.2 Animated one page Intro 

Idea development

We must choose a tale from Edgar Allan Poe's poetry or short stories for the final project. We must produce:

• Comic Cover Page 
• Animated One-Page Intro (with animated backdrop, supplementary action, or parallax)

Organise the comic cover into three acts. Three panels, minimum, for the comedy.

I have selected "The Raven" as my favourite and most influential piece by Edgar Allan Poe. I adore the way he combines symbolism, beauty, and melancholy in this poetry. For instance, in the poem, the bird represents loss and death.

This is the paragraph that I decide to visualize. 

But the Raven still beguiling my sad fancy into smiling,

Straight I wheeled a cushioned seat in front of bird and bust and door;

Then, upon the velvet sinking, I betook myself to linking

Fancy unto fancy, thinking what this ominous bird of yore—

What this grim, ungainly, ghastly, gaunt, and ominous bird of yore

                                               Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressingI sat engaged in guessing, but no syllable expressing

To the fowl whose fiery eyes now burned into my bosom's core;

This and more I sat divining, with my head at ease reclining

On the cushion's velvet lining that the lamplight gloated o'er,gloated o'er,

But whose velvet violet lining with the lamplight gloating o'er,lamplight gloating o'er,

                                                 She shall press, ah, nevermore!

This paragraph is the rising action before the climax, before the appealing of Seraphim.

These are the analysis of sentences: 

But the Raven still beguiling my sad fancy into smiling,

Straight I wheeled a cushioned seat in front of bird and bust and door;

Then, upon the velvet sinking, I betook myself to linking

Fancy unto fancy, thinking what this ominous bird of yore—

What this grim, ungainly, ghastly, gaunt, and ominous bird of yore

                                               Meant in croaking “Nevermore.”

The entrance of this raven puts a smile on the face of the narrator. The bird was so out of place in his chamber, but it still “wore” a serious expression as it sat there. The speaker then turns to treat the raven as a noble individual and asks him his name in a very dramatic manner. The raven replies with ‘nevermore’.

When given the chance to face his loss and grief so directly, it seems amusing to the character. So he speaks to the bird. He asks its (the bird/his grief) name, as it looked grand and uncowardly even though it came from the world of suffering (the night). The raven spoke and said “nevermore”. His feelings of grief and loss (the raven) are reminding him of his greatest pain: nevermore. The raven speaks to him clearly and relays to him that what he had the deepest desire for in his life is now strictly nevermore.

This I sat engaged in guessing, but no syllable expressingI sat engaged in guessing, but no syllable expressing

To the fowl whose fiery eyes now burned into my bosom's core;

This and more I sat divining, with my head at ease reclining

On the cushion's velvet lining that the lamplight gloated o'er,gloated o'er,

But whose velvet violet lining with the lamplight gloating o'er,lamplight gloating o'er,

                                                 She shall press, ah, nevermore!

He sits there coming up with theories to explain the raven and its behavior to himself without speaking aloud in this bird’s company. Even so, he felt its “fiery eyes” could see through him, straight to his heart. So he continues to ponder and be lost in thought as he reclines on a soft velvet cushion that the lamplight was highlighting in the room. Seeing the cushion gleaming in the lamplight sends him spiraling into the heart-wrenching reminder that Lenore will never get a chance to touch that cushion again now that she’s gone.

Poe underlines that the character has so much more feeling than he tackles when he confronts his grief. As he contemplates the concreteness of the words “nevermore,” he relapses into memories of Lenore. The cushion symbolizes his connection to his physical life. As he battles with his emotions, the cushion reminds him that his beloved Lenore will never share his physical space and life again. She will never, again, physically be in his company.

Art style Reference 

Fig. 2.1 Chinese artist, Huang lingsing ,Week 12

Fig. 2.2 Chinese artist, Ze Jian ze,Week 12

Fig. 2.3 Polish vector artist, Krzyaztof Nowak,Week 12

Sketch 

Comic cover page

Fig. 2.4 Comic cover sketch, Week 12 

Animated one page Intro

Fig. 2.5 one page intro sketch, Week 12 

Digitisation (Comic cover) 

Fig. 2.6 "The Raven" , Week 12 

Fig. 2.6 Title font"The Raven" , Week 12

Comic cover page

Fig. 2.7 Final project : comic cover- Sun jia yi, Week 12 

Digitisation (Animated one page intro) 

These are the references for illustration:

Fig. 2.8 references, Week 12

Fig. 2.9 references, Week 12

Fig. 2.10 references, Week 12

1

             
                                                                  Fig. 2.11 Panel 1 , Week 12

2

                          

                                                                      Fig. 2.12 Panel 2 , Week 12

3

                                       

                                         
   

                                                    Fig. 2.13 Panel 3, Week 12

4 

  Fig. 2.14 Panel 4, Week 12

Animation

Fig. 2.15 Animation process , Week 12

Fig. 2.15 Animation process , Week 12

Fig. 2.16 Final project:  One page intro-Sun Jia Yi , Week 12

Fig. 2.17 Final project: Animated One page intro-Sun Jia Yi , Week 12

Fig. 2.17 Final project: Animated One page intro-Sun Jia Yi , Week 12

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FEEDBACK

WEEK 13: The process is fine. Keep going. 

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REFLECTION

This project allows me to freely explore the possibilities of visualising a tale, which is why I genuinely like working on it. I've been able to explore my imagination and try out different visual storytelling strategies thanks to this project. I also use this chance to examine the artists I found inspiring in more detail. The fact that the story I choose is more abstract than others has been one of my challenges. As a result, I have to pay close attention to the overall style of my work and make sure that the audience understands the message. In this project, striking a balance between abstraction and clarity has been a useful exercise.