Illustration & Visual Narrative [Task 3 : Digital Triptych - Transitions]
11.27.2023 - 12.08.2023 / week 10 - week 11
Sheryne Axellia Putri / 0367267 / Bachelor of Design (Honours) in Creative MediaIllustration and Visual Narrative
Task 3
LECTURES
Week 10 11.27.2023
Gestalt Law of Closure
Figure 1.1 Week 10 (11/27/2023) Law of closure.
Law of Closure: Objects grouped together are seen as a whole.
We tend to ignore gaps and complete contour lines. In the image above, there
are no triangles or circles, but our minds fill in the missing information
to create familiar shapes and images.
Figure 1.2 Week 10 (11/27/2023) Law of closure #2.
Hieronymus Bosch⤵
Figure 1.3 Week 10 (11/27/2023) The Garden of Earthly Delights.
Hieronymus Bosch considered one of the greatest artists of the Northern
Renaissance, Bosch is known for creating restlessly imaginative works rich
in religious symbolism, allegory, and fantastical elements depicted in
bustling scenes across expansive compositions.
The scenes depicted in the triptych are thought to follow a chronological
order: flowing from left to right they represent Eden, the garden of earthly
delights, and Hell. God appears as the creator of humanity in the left-hand
wing, while the consequences of humanity's failure to follow his will are
shown in the right.
Figure 1.4 Week 10 (11/27/2023).
Figure 1.5 Week 10 (11/27/2023).
Figure 1.6 Week 10 (11/27/2023).
Figure 1.7 Week 10 (11/27/2023).
Transition from ←left to right→ panel in the triptych.
Transition and Gutter
If one were to look at a comic they would see empty space between the
panels that contain the
illustrations and dialogue of the text. This is an obvious observation
that has not-so-obvious implications.
Figure 1.8 Week 10 (11/27/2023) Transitions.
Gutter: The invisible messenger within comics in that they pass information but are simply an empty
space. In the comic world, this space is known as the gutter → the gutter is
essential for comics to be successful because it allows for closure to
happen.
Scott McCloud describes closure as, “Observing the parts, but
perceiving the whole.”
An example used by Scott McCloud that shows how the gutter stimulates
time and motion when the reader uses closure:
Figure 1.9 Week 10 (11/27/2023) Gutter.
In the first panel, there is a man about to be attacked by another
with an axe. In the next panel, we simply see a deathly scream rising
from a cityscape. It is left up to us to decide what exactly happened
between these two scenes.
Transitions: McCloud describes six types of panel-to-panel transitions, each
requiring a different degree of closure from the reader.
1. Moment-to-moment transitions show basic movements
occurring.⤵
Figure 1.10 Week 10 (11/27/2023) Moment-to-moment transitions
#1.
Figure 1.11 Week 10 (11/27/2023) Moment-to-moment transitions
#2.
Figure 1.12 Week 10 (11/27/2023) Action-to-action transitions
#1.
Figure 1.13 Week 10 (11/27/2023) Action-to-action transitions
#2.
3. Subject-to-subject transitions stay within a specific scene or
idea and call for more reader involvement.⤵
Figure 1.14 Week 10 (11/27/2023) Subject-subject transitions
#1.
Figure 1.15 Week 10 (11/27/2023) Subject-to-subject transitions
#2.
Figure 1.16 Week 10 (11/27/2023) Scene-to-scene transitions
#1.
Figure 1.17 Week 10 (11/27/2023) Scene-to-scene transitions
#2.
5. Aspect-to-aspect is unique in that it shows different aspects occurring simultaneously within the same scene.⤵
Figure 1.18 Week 10 (11/27/2023) Aspect-to-aspect transitions
#1.
Figure 1.19 Week 10 (11/27/2023) Aspect-to-aspect transitions
#2.
6.
Non-sequitur provides no logical connection between panels.⤵
Figure 1.20 Week 10 (11/27/2023) Non-sequitur transitions
#1.
Figure 1.21 Week 10 (11/27/2023) Non-sequitur transitions #2.
McCloud explains how this categorization method is an “inexact
science” but is useful in helping to understand the storytelling
process of authors.
- Action-to-action, subject-to-subject, and scene-to-scene transitions are most common because these types of transitions show things happening in succinct ways → this drives the story forward in the most effective way.
- On the other hand, movement-to-movement transitions are not common because these transitions do what action-to-action transitions do but need more panels to do so.
- Aspect-to-aspect transitions are not very effective when it comes to progressing the story because they use multiple panels to show the same scene.
- Lastly, non-sequitur transitions can only be used in very unique situations because they use panels to show completely unrelated things.
INSTRUCTIONS
Figure 2.1 Week 10 (11/27/2023) Module Information.
The objective of this assignment is to apply Scott McCloud's theory
on transitions to create a digital triptych, comprising three panels:
one before, one during (climactic turning point), and one after a
significant event. Each panel will represent a different transition
type from McCloud's theory.
Referencing Scott McCloud's analysis of transitions in "Understanding Comics," you will select one panel before and one panel after the climactic turning point, surrounding a panel representing the turning point itself. Each panel will exemplify a different transition type, creating a digital triptych that showcases various narrative transitions.
Figure 2.5 Week 10 (11/27/2023) Baseline color for the #1
panel.
Figure 2.6 Week 10 (11/27/2023) Baseline color for the #2
panel.
FEEDBACK
REFLECTION
Referencing Scott McCloud's analysis of transitions in "Understanding Comics," you will select one panel before and one panel after the climactic turning point, surrounding a panel representing the turning point itself. Each panel will exemplify a different transition type, creating a digital triptych that showcases various narrative transitions.
- Review Scott McCloud's transitions: moment-to-moment, action-to-action, subject-to-subject, scene-to-scene, aspect-to-aspect.
- Select one transition type for each of the three panels: before, during (climactic turning point), and after the turning point.
- Identify specific moments or elements in the narrative that align with the chosen transitions.
- Create a digital triptych with three panels that clearly illustrate the chosen transitions.
- Use any digital medium (illustration software, graphic design tools, etc.) to craft the panels.
- Ensure coherence and narrative flow between the panels, capturing the essence of the transitions selected.
- Submit the completed digital triptych via the designated platform.
- Include a brief explanation for each panel, detailing the chosen transition and its significance in the narrative context.
- Ensure that each panel distinctly represents its respective transition type.
- Understanding and application of Scott McCloud's theory on transitions in creating the digital triptych.
- Clarity and effectiveness in using each transition to depict the sequential narrative.
- Coherence and visual storytelling across the three panels.
- Artistic execution and presentation of the digital triptych.
1.1 Progress
1a.) Sketch
I have a few ideas about how the transitions will look in
different perspectives and frames. So here are the sketches that I
did:
Figure 2.2 Week 10 (11/27/2023) #1 & #2 sketch.
- #1 Sketch: since the decisive moment of the illustration is when Sundel Bolong noticed the man, I was thinking of making her the main focus again for the first panel. Because we couldn't see her face in the previous assignment, I decided to have her face revealed, with her full body combined with the environment. The last panel shows Sundel Bolong's hand reaching for the man with the flashlight highlighting her hand.
- #2 Sketch: same as the previous sketch, but with her face zoomed to the camera. And with the last panel highlights the guy's face as he is about to run from the Sundel Bolong.
Figure 2.3 Week 10 (11/27/2023) Final sketch.
After the feedback from Mr. Hafiz, he said that my
illustration for the decisive moment is already complex, so it
is best to make the transition before and after as simple as
it is. He chose the first panel from the #1 sketch and added
that it would look good if the framing were more zoomed in on
her face, with the last panel from the #2 sketch. I also redrew the last panel since the previous one looked so
messy.
1b.) Digitization
Figure 2.4 Week 10 (11/27/2023) Progress of the
digitization.
1.2 Final Outcomes
Figure 2.7 Week 11 (12/08/2023) Final result #1 panel (PNG).
Figure 2.8 Week 11 (12/08/2023) Final result #2 panel (PNG).
Figure 2.9 Week 11 (12/08/2023) Final result transitions (PNG).
Figure 2.10 Week 11 (12/08/2023) Final result #1 panel (Pdf).
Figure 2.11 Week 11 (12/08/2023) Final result #2 panel (Pdf).
Figure 2.12 Week 11 (12/08/2023) Final result transitions (Pdf).
FEEDBACK
Week 7 11.01.2023
- general feedback, to make the transitions work, the panel has to be before and after the decisive moment.
- specific feedback, because my decisive moment illustration is very complex (the background) I was given the advice to make my transition have a simple perspective and composition. With only focusing on the characters rather than the environment. Or I can simplify my background for the decisive moment part.
REFLECTION
Experience
I have become more flexible at drawing using the Pen tool than I was before. Now I can predict every curves, width and weight it needs for an illustration.
Observation
This task taught me in the art deco style, simplicity is important in illustration because it creates a modern, and clean appearance. The art deco style is all about clean lines, geometric shapes, and bold colors. Using complex or elaborate illustrations would ruin from this simple look.
Findings
Since my decisive moment panel focuses on a lot of things, with the environment and the two characters, I have to balance the transitions by making the other two panels with simple composition.
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