Illustration & Visual Narrative Task 2: Composition Exercise

Week 6-? (26/5/2026-?/?/2026)

Emily Wong Jing Lin | 0394765

Illustration and Visual Narrative | Bachelor of Design (Honours) in Creative Media | Taylors University

Task 2: Composition Exercise

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Table of Content

1. Lectures

2. Instructions
3. Process Work-Creating Composition & 

Collectible Card Design

4. Process Work-Apparel Design

5. Feedback
6. Reflection

*Figures are numbered by section type (Lecture = 1, Instruction = 2, Process Work = 3, etc.) and progression within that section. For example, Figure 1.6.1 means Lecture section, week 6, first figure.

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1. LECTURES

Lecture 4: Composition Theory 1: Visual Types and Shots

25/5/2026 (Week 6)

1. Definition: Composition is defined as the active art of arranging design elements within a frame to communicate a specific message or tell a story.

2. Basic Composition Visual Rules

• Visual Narrative: Every element within the frame must collectively serve the story, ensuring the visual mood and emotional tone are in perfect sync with the core message.
• Visual Flow: The deliberate arrangement of lines, perspective, or effects to create visual tension, actively guiding the viewer's gaze in a precise sequence across the artwork.
• Visual Balance: The strategic distribution of elements to ensure top-to-bottom and left-to-right equilibrium, preventing the composition from appearing lopsided or awkwardly cluttered.
• Visual Hierarchy: The deliberate ordering of element importance to direct the viewer’s eyes to specific details first, typically spotlighting the main subject or tactically obscuring it to build suspense.

3. Different Types of Shots

• Establishing: The opening shot used at the very beginning of a scene to establish the environment, setting and context for the audience.
• Bird's Eyeview: An extreme high angle shot taken form directly above, looking straight down at the scene to provide an overhead perspective of the landscape or characters.
• Frame Within a Frame: A compositional technique where elements within the environment (such as a window, doorway, or mirror) are used to frame the main subject, adding depth and focus.
• Medium Shot: A standard camera angle that frames the subject from a moderate distance (typically from the waist up), capturing both the character's expressions and a clear view of their immediate surroundings.
• Close-Up: A tight shot that focuses tightly on a specific subject or detail (such as a character's face) to emphasise emotions, reactions, or critical features.
• Worm's Eyeviw: An extreme low-angle shot looking straight up from the ground, used to make the subject look massive, powerful, or imposing.

Tutorial: Creating Composition

25/5/2026 (Week 6)

1. Foreground, Middle-Ground and Background

Every zone of space/plane in a composition is divided into 3:

• Foreground: Closest to view, appear darker/more saturated.
• Middle-ground: Transition between foreground and background.
• Background: Furthest/most distant visible area, appear lightest/brightest/muted.

Figure1.6.1 Sample Artwork Provided by Lecture

Lecture 5: Composition Theory 2: Perspective

1/6/2026 (Week 7)

1. Definition: The technique of showing 3D depth, height, and width on a flat, 2D surface to guide the viewer's eye.

2. Construct Perspectives:

• One-Point Perspective: All lines lead back to a single vanishing point on the horizon. Objects shrink as they get closer to it.
• Two-Point Perspective: Uses two vanishing points on the horizon, allowing objects to be viewed from an angle to show two sides at once.
• Three-Point Perspective: Utilises three vanishing points (two on the horizon, one far above or below) to create dramatic, steep angles looking up or down.
• Isometric View: A technical view displaying three sides of an object equally using a specific grid instead of vanishing points. Ideal for designing individual buildings clearly without distortion.
• Dynamic Application: The practice of mixing different perspective methods rather than sticking rigidly to one. This breaks the monotony to inject energy and motion into a scene (e.g., a crashing spaceship).

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2. INSTRUCTIONS

https://drive.google.com/file/d/1V1olO6ReHW4Bf6mAiTcus0ioMC0vlEQK/view?usp=sharing

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3. PROCESS WORK - Creating Composition & Collectible Card Design

Final Outcome:

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4. PROCESS WORK - Apparel Design

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5. FEEDBACK

5.1 Creating Composition & Collectible Card Design

Week 6

General Feedback: As Wednesday was a public holiday, Mr. Fitri briefed us on Monday regarding the upcoming Composition & Collectible Card Design assignment.

Specific Feedback: I submitted three of my composition drafts to Mr. Fitri via MS Teams chat. Out of the three, he selected the option which he deemed to have the clearest distinction between the foreground, middle-ground, and background, advising me to proceed with that particular concept.

Week 7

General Feedback: Mr. Fitri designated this week’s physical class as an Independent Learning Week, allowing students to work from home and focus on progressing with the assignment assigned the previous week.

Specific Feedback: No specific feedback was given due to the Independent Learning Week.

5.2 Apparel Design

Week 8

General Feedback: On Monday, Mr. Fitri conducted an online session to brief us on Task 2: Apparel Design. This assignment is another collaborative project with TMS, requiring us to design graphics for hoodies and sweatshirts.

Specific Feedback: I sent my design concepts to Mr. Fitri via MS Teams chat for review. He provided constructive feedback and advised me to select two of the patterns to develop further.

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6. REFLECTION