WEEK 5: Sequen,al Design IAT100 Digital Image Design Fall 2013 Chantal Gibson

Transcription

1 WEEK 5: Sequen,al Design IAT100 Digital Image Design Fall 2013 Chantal Gibson

2 Today s Agenda Project 1 grading process iclicker quiz Project 2 Narra,ve Structure Sequen,al Transi,ons

3 ScoO McCloud on Comics, Sequencing & the Web View Scott McCloud on comics on TED: Ideas worth sharing.

4 Icons and Symbols Notice how the slow and heavy drip represents time here.

5 Closure The act of observing the parts but perceiving the whole.

6 The guoer (where the magic happens) The space between comic frames

7 Subject- to- Subject Focus Who or what it happens to Same scene, different subject Guides viewer to consider the various plot elements at play Reader involved must relate the two images Can strongly enable closure

8 Scene- to- Scene Place / Time Transports viewer in,me Expansive Creates a sense of space OZen between short narra,ve sequences **Careful use of scene- to- scene transi,ons may allow for you to cut down on number of frames

9 Aspect- to- Aspect Same,me, different Point- of- View Different aspects of a place, idea or mood Shows Personal Perspec,ve Different Angles on the same scene ** unlike first four transi4ons doesn t advance 4me

10 Construc,ng a Graphic Narra,ve

11 Assignment 2 Highlights Type: Sequen,al Web Narra,ve (Graphic Story) Title: Composing Through Time Life Before Video, Making the Old New Theme: Adap,ng an exis,ng wrioen text into a visual narra,ve. Format: Web: 3-5 html pages. Images: photographic. WriOen: Short write up. Submission: On- line, uploaded to your SFU webspace. Link & WriOen submioed to WebCT. Teams: Project may be Individual or teams of 2 (same lab only). Team Contract: Due in Lab Week 6 ed to the class this morning! Due: Week 8, presented and cri,qued in class

12 Assignment 2 Assignment Theme: Web Adapta4on Your graphic short story will be based on an exis,ng wrioen piece of literature song lyrics from the 60s and 70s You will adjust the way the original text tells the story to adapt if to this graphic narra4ve style; for example, think of the difference between a novel and how it is adapted for a movie. You may adapt a story's parameters (such as sekng or culture) to beoer suit your interests (think of all the versions of Romeo and Juliet).

13 Narra,ve Iden,fiable Beginnings, Middles, Endings Freytag s Pyramid: Exposi,on > Complica,on > Climax > Resolu,on > Denouement Strong focus on Time/Temporality Reten,on of the past, aoen,on to present ac,on, and future an,cipa,on Focus on Characters Narra,on or Implied Author

14 Project 2: Sequen,al Web Narra,ve Web Adapta,on of a selected song lyric. Popular works from the 60s and 70s (Western culture) Before your,me- - Make something old completely new Save you,me on research/more,me to build story Shared context with classmates and teaching team VigneOe a Short Illumina,ng Scene Narra,ve Beginning middle and end Moves across,me and space Web Comic Adapta,on Reduce textual informa,on Increase visual informa,on

15 Boy Named Sue (1969): lyrics analysis full arc

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17 Hotel California (1976): lyrics analysis full arc

18 Your Process: Web as Medium for Narra,ve Researching/Wri4ng Select a poem or Song lyric from list Map out character, sekng, plot, ac,on Photography Form and Content Composi,onal Elements Sequen,al Design Storyboarding Planning shots Sequences Frames Panel shape/size Text Browser Interface Browser Window Scrolling Back / Forward Clicking Interac,on

19 Project 2: Sequen,al Web Narra,ve What is the story? Purpose? Where does it start? End? What is the climax? Who is telling the story? Why is the story being told? Who are the characters and what do they represent? What is the viewer s experience? How does the viewer move through or navigate the story? What is the role of the viewer as story teller? Does the viewer have agency? How is the story told? What parts of the story are told? What parts are lez to the viewer?

20 Project 2 Thinking about Topics Do not use a story outside of the list Do not glorify violence or abuse towards anyone or group (bullying, racism, homophobia, sexism, etc.) Avoid Cliches No Overt Life Lessons Don t drink/text and drive Don t commit suicide/gamble/do drugs No School Exam/Class/Project stories Late for exam Showed up a day early Skipped studying and par,ed instead No woke- up- and- it- was- all- a- dream- stories Be crea,ve. Read. Think. Provide a contemporary version of the poem or song Put your genera,onal, cultural, technological lens on the work Use the images, icons & symbols as tools for storytelling (ie: gun, drugs, etc.) Consider the,mes the works were wrioen in the West Vietnam War Civil Rights in the US Women s Rights Genera,onal divide What has or hasn t changed?

21 Transi,ons The GuOer What happens outside the frame? What happens between the frames? Meaning in Transi,ons Variety in Perspec,ve Where the viewer s imagina4on takes over Where the principle of closure allows us to construct a unified reality

22 Icons and Symbols

23 Establishing & Recalling Icons

24 Moment- to- Moment Time Consistent subject with small changes Small changes create center of interest Creates movie- like mo,on Requires liole closure

25 Moment- to- Moment Same subject, same frame small changes from moment to moment

26 Ac,on- to- Ac,on Event How it happens Single- subject progression Advances the plot Pace is brisk

27 Ac,on- to- Ac,on Whaam! by Roy Lichtenstein, 1963.

28 Subject- to- Subject Focus Who or what it happens to Guides viewer to consider the various plot elements at play Reader involved must relate the two images Can strongly enable closure

29 Subject- to- Subject

30 Subject- to- Subject Same scene, the same idea, but different subjects first the mean guy with the bat, and then the other miserable guy. **Notice frame within a frame construction.

31 Scene- to- Scene Place / Time Transports viewer Expansive Creates a sense of space OZen between short narra,ve sequences **Careful use of scene- to- scene transi,ons may allow for you to cut down on number of frames

32 We move across Space and time

33 Aspect- to- Aspect Point of View Different aspects of a place, idea or mood Shows Personal Perspec,ve Different Angles on the same scene ** unlike first four transi,ons doesn t advance,me

34 Aspect- to- Aspect Same place/location different points of view.

35 Aspect- to- Aspect

36 Non- Sequitur No Logical Rela4onship Different Angles on the same scene Comic or gag effect Poe,c effect Ambient effect Emphasizing the whimsical, or nonsensical Viewer sees disparate images as part of a larger whole

37 Non- Sequitur McCloud argues, we search for meaning and we find it- - in the guoer. Even if it doesn t make sense in the tradi,onal way, some sort of rela,onship develops. Igort: Baobab and more 19. set. 2008

38 TRANSITIONS = STORY TYPES Transi,ons that help clarify the nature of an ac,on, idea or mood: Ac4on Subject Scene Suitable for goal driven or narra,ves that are of interest on the strength of content.

39 TRANSITIONS = STORY TYPES Transi,ons that add POV: Moment- to- moment Aspect- to- aspect Suitable for nuanced or emo,onally driven plots or concepts. Interest is produced by how the story is told. **You may use different transi,on types at different points in narra,ve.

40 How to select Transi,on Types In order of importance 1. Emo,on: reveals just the right thing to move the story forward 2. Story: advances the narra,ve but asks could this have been lez out? 3. Rhythm: created by transi,oning and spacing at the right moment (expressing,me, building interest) 4. Eye- trace (composi,on across panels): understands the eye s journey from panel to panel

41 It s not what you show, but what you don t.. visual storytelling is as SUBTRACTIVE an art as it is ADDITIVE

42 Contact Chantal Gibson ALWAYS Include IAT100 and your lab sec,on number in the subject line of all s to me or your TA. (Example Subject: IAT100 E106 Office Hours When: Tuesday (9:00am- 12:00pm (or by appointment) Where: My office, Pod 2, 2808

43 Widescreen Test PaOern (16:9) Aspect Ratio Test (Should appear circular) 4x3 16x9