ILLUSTRATION & VISUAL NARRATIVE - TASK 3 + FINAL PROJECT MOTION COMIC

Week 8 (17/5/22) - Week 15 (10/7/22)
Student: Tai Ser Yeet (0345798)
Programme: Bachelor of Design (Honours) in Creative Media
Task: Task 3- Graphic Novel & Final Project Motion Comic

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WEEK 8

LECTURE REPORT- 3 ACTS STRUCTURE

Act 1 - Setup

Once upon a time, there were two lovers, Dog & Cat who lived in a box at a quiet alleyway. Shortly after their marriage, Dog was hit by a large truck and was pronounced dead on the spot. Upon hearing the news, Cat’s world instantly turns monochromatic as she griefs the loss of her lover.

Act 2 – Conflict

One day, while she was clearing Dog’s belongings from their home, she hears a familiar tune. It was the same tune that she always dances to with Dog. Curiously, Cat follows the tune until it leads her under a white car. She was reluctant to climb under but in the end, she did it anyway.

Waiting for her was Evil Dog and his partners. Evil Dog has always loved Cat from afar but never pursued his feelings due to the fear of Dog’s presence. Now that Dog was gone, Evil Dog could pounce on Cat. Because of that, Evil Dog confessed his profound love for her but Cat did not feel the same way and rejected his love. Because of that too, Evil Dog did not handle the rejection well & he ordered his partners to beat up Cat.

Act 3 – Resolution

Finally, Evil Dog was about to bite her throat when the familiar tune plays softly once again in the background. This time, the tune was coming from Dog who appears from the shadows. In the pursuit to save his wife, Dog then singlehandedly defeated Evil Dog and his partners with the use of his magical powers. After the battle, the world returns to a colorful setting as Dog & Cat were reunited once more. However soon after their reconciliation, Dog begins to fade away. Cat falls to her knees and cries with sorrow as grief overwhelms her once more. The End. 

WEEK 9

LECTURE- CONTINUITY IN COMICS/ TRANSITIONS

Moment to Moment - 

• slows down the pace of the story
• think of it as a blink or two between seconds of a film 
• only takes up 2 or 3 panels (can have more if its small panels)
• creates suspense/ dramatic scene
• concentrates the action or reaction of the subject, moment stays the same throughout the transition (just zooming into smtg) (e.g first frame- medium shot then second frame- close-up shot)
• if utilized too much, can make your comics dull & laborious
• e.g getting closer to an insect but separating into 3 frames, sweat trickling down someone's forehead
• gives chance to explore how you want to portray the character's behavior and reaction to the story

Action to Action - 

• action & a reaction
• e.g the first frame is a baseball player getting ready for the flying baseball and the second frame would be him swinging the bat. Another example would be 1. Wine is poured into a glass 2. A man sips wine 3. Man burps loudly

Subject to Subject - 

• interchanging to various subject matters in the story (e.g first panel focuses on the guy saying smtg to the girl, second-panel shifts to the woman so shes is drawn bigger then back to the guy in the third panel with his reaction)
• typically used for showing conversations
• portraying over-the-shoulder shots
• e.g 1. a man attempting to kill another man 2. display a shot of buildings with text expressing a scream.// 1. guy crosses the finish line in a race 2. close-up shot of someone clicking the stopwatch// 1. man asks a rhetorical question, 2. A woman answers the man's question 3. shot of a phone ringing

Scene to Scene- 

• frames differ from timeline, geography 
• the various panels can happen in one location too 
• How do you subtly hint at the setting of the story? Answer: e.g you have an interaction going on between the characters in a building (interior). After that, a panel is dedicated to showing the Hollywood sign (indication of where the building is situated) and the next panel is an establishing shot of the building exterior.

Aspect to Aspect - 

• used a lot in the introduction to establish the scene ( first forest, man in sunglasses then clouds)
• frames happening all at the same time & moment 
• e.g subject is a building so various shots would be capturing different aspects of what's going on in the building. Basically, what different angles of the same subject 
• e.g 1. close-up shot of eyes & body language then 
• have a central theme so the frames do not stray so far from each other
• e.g introduce a female character with a stunning outfit, eyes, lips, earrings, body etc but all in different panels
• e.g could have different panels with shots of various sides of the same house. The character's dialogue can already start showing on screen then slowly it would show the actual people that had the conversation in a certain place. Basically, as if the reader is overhearing the convo from outside the building as a third party.

Point of View -

• different transitional shots to manoeuver with the tempo of the storyline (slo-mo at some parts)
• understanding the audience is neurotypical (the brain functions as expected like usual)

Symbolism -

• can be used for flashbacks, inner dialog, partial montages
• symbolic transitions deal with the unreal, the imagined 
• have the readers move from a recalled space to a real one.
• e.g first panel, a girl says, "I feel like my chest is burning". Next panel, is tentacles burst out of her chest. 

Tips: 

- could also have a combination of a few transitions in the panels.

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INSTRUCTIONS

Fig 1.1 Module Information Booklet, Week 9 (24/5/22) 

WEEK 9 

GRAPHIC NOVEL

Fig 2.1 Instructions to Decisive Moment, Week 9 (24/5/22) 

60 panels = 3 episodes 

1 episode = 20 panels 

800x 1280 = typical canvas size for 1 page

800x 7680 = 6 pages

RESEARCH

I went on YouTube to learn more about ways to effectively create page panel layouts. 

According to Ostlie, 2020, before creating each panel...

1. Determine what's important 

• Character 
• Object
• Location
• Emotion
• Action 

2. Composition 

• Use Rule of Thirds
• Place object off-center/ at the intersection points of ROT
• Play with depth by overlapping subjects to bring viewers into a 3D space
• Angle drawings are superior to straight due to their dynamicity and depth
• Let the main subject fill the frame instead of giving equal priority to the dialogue and sound effects 
• Avoid spending too much time in the background/ or having too much detail because it could distract the viewer's attention from the focal point

3. Mental Map of Location

• Draw a rough view of the setting 
• Include objects, furniture, and area where the characters are standing 
• Remember the 180-degree rule for camera placement and where it can move 
• The left picture is better because it follows ROT, is angled, has depth to it, and helps the viewers imagine that they are in the space

4. 180 Degree Rule

• The subject that is on the left stays on the left side & vice versa
• You could break the rule if the scene is about someone getting lost in a place and u wanna make the readers feel like they are lost too
• Another exception is that you wanna have smtg abrupt the scene
• Can break the rule by focusing on a different object in the setting to give time for viewers to reorientate 

5. Pacing Pattern

• Write a list of important points you wanna convey to the reader & cool ways to do it 
• Show, don't tell. Don't show the evil guy is in fact, evil. E.g you can illustrate them to be violent by kicking an animal.
• Ask yourself when doing each Act, "why do I need to draw this? Why is it necessary that my readers know what the character is doing?"
• Too many backstories would slow down the momentum or too many conversations would not get your story anywhere
• For Act 2- Conflict, it is a big chunk of the story therefore it's best if it gets broken down further into more mini 3 Act Structures.
• E.g Character learns they have to kill the evil demon. But before that, they must learn to fight. To learn to fight, they need to seek an old master who was missing for years. To find the master, they need to find a history book in a forbidden library. Halfway through, they need to stop because their horse was shot down. 
• Essentially, problem to solution and again & again.
• Make the story feel like it moves towards smtg.

INSPIRATION

Fig 2.2 Victorian Alleyway, Week 9 (24/5/22) Source: Alamy & Flickr

Fig 2.3 Modern Alleyway, Week 9 (24/5/22)(Source: Goodreads & ForD Nguyen)

CHARACTER DESIGN

CAT

Fig 2.4 Duchess, The White Cat from The 1970s Aristocats, Week 9 (24/5/22)Source: DeviantArt

Fig 2.5 Puss In the Boots & Tom, Week 9 (24/5/22) Source:Wikipedia

Fig 2.6 Diane Foxington, Week 9 (24/5/22)(Source: Know Your Meme)

I came across this webcomic showcasing the protagonists & antagonists as animal characters which aligned with my intention of starring animal-human-like subjects as well.

Fig 2.7 Blades of Fury, Week 9 (24/5/22)(Source: Muniz, Erdos, 2020-2022)

Dog Begins To Fade Away

Fig 2.8 Ending scene, Week 9 (24/5/22)(Source: Pinterest)

I could imitate the scene by replacing the middle subject as Dog who is looking very sad to leave Cat. Meanwhile, Cat is caressing his cheek and begs him to stay.

Fig 2.9 Dog Looking Sad, Week 9 (24/5/22)(Source: WEBTOON)

Another movie that is similar to my webtoon cast would be a 2008 family movie known as "Bolt" which features a dog(Bolt), a cat & a hamster embarking on an adventure to find Bolt's owner in the streets of Hollywood. I also managed to obtain pages of the comic version of the movie as a reference.

Fig 2.10 Disney Bolt Graphic Novel, Week 9 (24/5/22)(Source: Animation Source)

Fig 2.11 Disney Bolt Graphic Novel 2, Week 9 (24/5/22)(Source: Animation Source)

Fig 2.12 Disney Bolt Graphic Novel 3, Week 9 (24/5/22)(Source: Animation Source)

In this short film called "Paperman" by Disney, I noticed that in order to connect the first and second scenes, the first character would have to first look in the direction of where the second character is positioned before cutting to the next scene. This helps the viewers understand the relation between two separate angles. To further provide guidance, an over-the-shoulder shot is used whereby a quarter of the first character appears at the corner of the frame.

Fig 2.13 Paperman, Week 9 (24/5/22) Source: YouTube

SKETCHES

After much thought, this is the structure I would follow in terms of the number of panels for each Act. 

Act 1 (Setup) - 15 panels

Act 2 (Conflict) - 25 panels 

Act 3 (Resolution) - 20 panels

Total = 60 panels (could be more later)

LOCATION 

1. Dog & Cat's house

The couple lived in a house made of old boxes..

Fig 3.1 Attempt 1, Week 9 (24/5/22) 

Fig 3.2 Attempt 2, Week 9 (24/5/22) 

2. Buildings/ Street

Fig 3.3 Victorian Style Architecture, Week 9 (24/5/22) 

3. Alleyway

Fig 3.4 Isometric View of Setting, Week 9 (24/5/22) 

CHARACTER DESIGN 

1. Cat 

Fig 3.5 360 Degree of Cat, Week 9 (24/5/22) 

FINISHED SKETCHES OF WEBCOMIC

Fig 3.6 Finished Sketches of Graphic Novel, Week 9 (24/5/22) 

WEEK 10 - 11

DIGITALISATION OF SKETCHES

ACT 1 - SETUP

Fig 4.1.1 360 Degree of Cat, Week 10 (31/5/22) 

Fig 4.1.2 Creating Lamp Post & Cover For Stores, Week 10 (31/5/22) 

Fig 4.1.3 Tracing Sketches Using Shapes, Week 10 (31/5/22) 

Fig 4.1.4 Experimenting With Brush Tool, Week 10 (31/5/22) 

Fig 4.1.5 Adding Drop Shadow to Cat's Arms, Week 10 (31/5/22) 

Fig 4.1.6 Tracing Food Bowl & Contents, Week 10 (31/5/22) 

Fig 4.1.7 Adding Gradient Effect To Cat's Silhouette & Illustrating Dog's Death, Week 10 (31/5/22) 

Fig 4.1.8 Taking Inspiration from Existing Web Panel, Week 11 (7/6/22) 

Fig 4.1.9 Progress On Act 1, Week 11 (7/6/22) 

Fig 4.1.10 Down turning Cat's Ears, Week 11 (7/6/22) 

Fig 4.1.11 Altering Cat's Facial Expression, Week 11 (7/6/22) 

ACT 2 - CONFLICT

Fig 4.2.1 Establishing Shot, Week 11 (9/6/22) 

Fig 4.2.2 Making Cat & Dog's Home, Week 11 (9/6/22) 

Fig 4.2.3 Using Warp Tool to Correct Perspective, Week 11 (9/6/22) 

Fig 4.2.4 Top View of Alleyway, Week 11 (9/6/22) 

Fig 4.2.5  Adding Small Details, Week 11 (9/6/22) 

Fig 4.2.6 Cropping the Panel For A Close-Up Shot, Week 11 (9/6/22) 

Fig 4.2.7 Creating the Furniture & Boxes, Week 11 (9/6/22) 

Fig 4.2.8 Creating Side View of Home & the Dumpster Bin, Week 11 (9/6/22) 

Fig 4.2.9 Down turning ED's Eyebrows, Week 11 (9/6/22) 

ACT 3- RESOLUTION

Fig 4.3.1 Finished Panel For Act 3, Week 15 (10/7/22)

Fig 4.3.2 Tracing Shocked Cat, Week 15 (10/7/22)

Fig 4.3.3 Tracing Dog's Angry Expression, Week 15 (10/7/22)

Fig 4.3.4 Tracing ED's Face, Week 15 (10/7/22)

Fig 4.3.5 Tracing Pug's Face, Week 15 (10/7/22)

Fig 4.3.6 Tracing Musical Notes, Week 15 (10/7/22)

ADDING THE DIALOGUE & SOUND EFFECTS 

I went ahead & searched the Internet for ways to express sound in words so that the audience could envision the scene easier.

Fig 5.1 Scouring the Internet for Fonts, Week 15 (10/7/22)

I ended up downloading the fonts, SF-Arch-Rival & crashlanding-bb as stated in one of the articles because I wanted the webtoon to resemble the usual comics instead of making it unique.

Fig 5.2 Fonts Used for Sound Effects & Text, Week 15 (10/7/22)

Fig 5.3 Adding "Whips" Word Expression, Week 15 (10/7/22)

Fig 5.4.1 Creating Single Speech Bubble With Pointers, Week 15 (10/7/22)

Fig 5.4.2 Adding Dialogue into Bubble, Week 15 (10/7/22)

Fig 5.4.3 Creating Conjoined Speech Bubble, Week 15 (10/7/22)

WEEK 15 

FINAL PROJECT MOTION COMIC

INSPIRATION

I took inspiration from the motion comic series , I Am Legend produced by Warner Bros Entertainment.

Fig 6.1.1 I Am Legend Motion Comics, Week 15 (10/7/22)

Fig 6.1.2 I Am Legend Animated Comics 3, Week 15 (10/7/22)

IMPORTING INTO AFTER EFFECTS

Before beginning to animate my webtoon, I had to create multiple layers for some of the panels. I went onto Illustrator & separated the elements that I wanted movement onto a single layer.

Fig 7.1 Placing Two Panels Each In a File, Week 15 (10/7/22)

Fig 7.2 Importing the Layers from Illustrator, Week 15 (10/7/22)

Fig 7.3 Adjusting the Canvas Size, Week 15 (10/7/22)

ACT 1 - SETUP

Fig 7.3.2 Scaling the Music Notes, Week 15 (10/7/22)

Fig 7.3.3 Rolling Transition, Week 15 (10/7/22)

Fig 7.3.4 Smoothening Keyframes, Week 15 (10/7/22)

Fig 7.3.5 Applying Float in Transition, Week 15 (10/7/22)

Using the Puppet Warp, I first placed the Puppet Pins on the circumference of the tongue. It was crucial that I placed some on the back of the tongue so that when I move the other pins, that specific part would not deviate from its position. I then tried to animate Dog licking Cat's cheek before he heads off for work.

Fig 7.3.6 Animating Dog's Tongue, Week 15 (10/7/22)

ACT 2 - CONFLICT

Fig 7.4.1 Animating Cat Bending Her Back, Week 15 (10/7/22)

Fig 7.4.2 Zooming In On Crawling Cat, Week 15 (10/7/22)

Fig 7.4.3 Animating Dog Pressing the Button Using Puppet Tool, Week 15 (10/7/22)

Fig 7.4.4 Dog's Evil Smile At Cat, Week 15 (10/7/22)

ACT 3- RESOLUTION

Fig 7.5.1 Cat Trying To Block Bright Light With Arm, Week 15 (10/7/22)

Fig 7.5.2 Animating Dog's Tongue, Week 15 (10/7/22)

Because I faced problems after compiling the pre-composed clips, I then began copying & pasting the individual clips into a single composition. Hence, the long list of clips.

Fig 7.5.3 Compiling all Clips, Week 15 (10/7/22)

EXPORTING THE FINAL OUTCOME

Fig 8.1 Failed Render, Week 15 (10/7/22)

Assuming that there were too many clips in one file & my laptop did not have enough RAM to process the video, the exportation of video ultimately failed. It was so frustrating and nerve-wracking at the same time because if I could not render the final video, I wouldn't know what else to do. 

Luckily, I thought quick & tried splitting the video into 4 parts so that less processing power is needed to export the video. It worked. 

Fig 8.2 Process of Rendering 1 Part, Week 15 (10/7/22)

IMPORTING INTO PREMIERE PRO

I combined all 4 parts of the video into one in Premiere Pro. I was also much more familiar with this software so navigating & adding the sound effects was a breeze.

Fig 9.1 Adding Clips to Sequence, Week 15 (10/7/22)

Fig 9.2 List of Sound Effects, Week 15 (10/7/22)

Fig 9.3 Incorporating Sound Effects, Week 15 (10/7/22)

FINAL SUBMISSION OF TASK 3: GRAPHIC NOVEL

Fig 10.1 Final Submission of Graphic Novel Part 1, Week 15 (10/7/22)

Fig 10.2 Final Submission of Graphic Novel Part 2, Week 15 (10/7/22)


Fig 10.3 Final Submission of Graphic Novel Part 3, Week 15 (10/7/22)

Fig 10.4 Final Submission of Graphic Novel Part 4, Week 15 (10/7/22)

Webtoon Link: https://www.webtoons.com/en/challenge/the-fight-for-cats-love/true-love-always-wins/viewer?title_no=783405&episode_no=1

FINAL SUBMISSION OF FINAL PROJECT

Fig 11.1 Final Submission of Final Project Motion Comic, Week 15 (10/7/22)

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FEEDBACKS

WEEK 9 - 3 ACT STRUCTURE

Good on the setup in Act 1 where there was a quick change in tone & mood.

The conflict in Act 2 escalated fairly quickly but in an interesting way. Ms. Anis labeled my style of webtoon soft storytelling because it doesn't provide much information regarding Dog's biography. The same goes with Evil Dog. Next, it will be challenging to differentiate between a sad Cat & a happy cat during the transitional moments. Ms. Anis also liked the way that the story keeps the readers on what is going to happen next.

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REFLECTIONS

These two projects really took a toll on me. Because of my extremely bad time management skills, I did not finish the project on the set deadline. Having to complete two projects back-to-back was not enjoyable at all due to the late nights that I pull. Not only that, I have a bone to pick with the insane amount of panels that we have to do for the graphic novel. As someone that does not draw on a daily basis, I had no faith in my drawing skills & which carried forward when I had to sketch out the 60 panels. As a result, I procrastinated doing the project which lead to the last-minute completion. Next, I did not appreciate the fact that we were not taught on how to extensively use Adobe After Effects & instead we had to YouTube/ Google for the tutorials.  Also, to be frank, I would never attempt to do a webtoon ever again because of how taxing it is. On a brighter note, I am absolutely proud of the final outcome despite the bad experience. I guess it was all worth it in the end.