Digital Photography and Imaging - Task2: Digital Collage
Week 3-4 (5/5/2026-12/5/2026)
Emily Wong Jing Lin | 0394765
Digital Photography and Imaging | Bachelor of Design (Honours) in Creative
Media | Taylors University
Task 2: Digital Collage
TABLE OF CONTENT
1. LECTURES
Lecture 3: Introduction to Photoshop
5/5/2026 (Week 3)
Lasso Tool: Allow you to draw and pinpoint specific areas of a document
Pen Tool: The way that you add these points and the way you drag the tool as
you create the points determines how they will look.
Lasso Tool vs Pen Tool
Similarity: to make a selection
Similarity: to make a selection
Differences:
- Lasso Tool: Used to create extremely precise shapes and paths, using manually placed anchor points.
- Pen Tool: Not natively made as a 'selection tool'.
Layer: Layers are different images stacked on top of each other. You can use
each layer without affecting another one to make adjustments.
2. INSTRUCTIONS
https://drive.google.com/file/d/1J4OzNjT7yVjyR0306N4rmBXDz4ny8oaF/view?usp=sharing
3. PROCESS WORK - Task 2: Digital Collage
Phase 1: Observation and Preparation
At the start, I did not yet have access to Adobe CC, so I focused on observing
the provided materials. This stage allowed me to identify inspiring textures
and images. For example, texture liquid with its curved black lines
conveyed a strong narrative quality, while texture grunge, an orange
rust‑stained iron door, stood out for its brightness and visual impact. I also
noticed a fish image that seemed ideal for surreal collage work. These
observations laid the foundation for my later compositions. I also did some
research on Pinterest to get some inspiration.
Figure3.1.1 References related to my Pre-Compositions
Phase 2: First Experiment
Once I received my Adobe CC license, I began experimenting. My initial attempt
was a collage of a train placed within a rubber plant. I was fascinated by
scale inversion—objects appearing larger or smaller than they would in
reality. Although I enjoyed the concept, I quickly felt stuck and unable to
progress further. This experience taught me the importance of moving on when
an idea stalls, and it set the stage for exploring new directions.
Figure3.2.1 First Pre-Composition
Phase 3: Pre-Composition 1
In this design, I created a giant betta fish swimming among buildings. To
emphasize the fish as the focal point, I used the orange rust texture as a
circular background, resembling an eclipse or sun. This strong contrast
immediately drew attention to the fish. Green leaves were added as decorative
accents to enrich the composition. This composition leans more towards a
traditional collage style.
Figure3.3.1 Pre-Composition 1
Phase 4: Pre- Composition 2
Inspired by the principle of radial balance, I used texture liquid
to create a dynamic swirl emerging from an old projector. Two elderly
figures were placed as observers, adding narrative depth. The challenge came
with the background choice, leading to a trial‑and‑error process. I tested
two versions:
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A black‑and‑white background, which felt colder and emphasized the colorful swirl.
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An orange background, which created warmth, poster‑like qualities, and reduced the unsettling effect of distortion.
Figure3.4.1 Pre-Composition 2 (Black & White Background
Version)
Figure3.4.2 Pre-Composition 2 (Orange Background Version)
Ultimately, I chose the orange version, as it provided stronger narrative
impact and a unified atmosphere.
Phase 5: Pre-Composition 3
For this design, I centered the composition on a typewriter. Again exploring
scale inversion, I placed miniature human figures on the typewriter keys. This
surreal arrangement developed smoothly and aligned well with
visual hierarchy: the typewriter as the primary anchor, fish and
leaves as secondary elements, and miniature figures as tertiary decorative
details.
Figure3.5.1 Pre-Composition 3
Phase 6: Final Selection
With three pre‑compositions completed, I faced the challenge of choosing one
for the final collage. Each design had unique strengths: Pre‑composition 1
emphasized symbolism, Pre‑composition 2 conveyed narrative depth, and
Pre‑composition 3 explored hierarchy and surreal scale. In the end, I selected
Pre‑composition 2 as my final collage. Beyond my interest in
scale inversion, I realised I am most drawn to images with strong storytelling
qualities. Pre‑composition 2 captured attention effectively, conveyed a clear
narrative, and created a unified vintage atmosphere, making it the most
compelling choice for my final work.
Figure3.6.1 Final Outcome of Task2: Digital Collage
Final Work Analysis
1. Principles of Composition Applied:
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Balance: The figures and projector are placed centrally, creating stability, while the swirling projection introduces dynamic asymmetry. This combination produces tension and visual interest.
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Rule of Thirds: The vortex expands diagonally across the frame, aligning with intersecting thirds. The figures anchor the lower third, while the swirl dominates the upper area, guiding the viewer’s eye naturally.
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Framing & Negative Space: The orange textured background acts as a frame. This framing highlights the central narrative.
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Contrast: Strong contrast exists between the monochrome figures/projector and the vibrant, distorted architectural swirl. The juxtaposition of reality and abstraction strengthens the surreal atmosphere and directs attention to the projection.
2. Visual Hierarchy
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Primary Element: The swirling vortex of distorted architecture and colors, immediately capturing attention with its scale and vibrancy.
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Secondary Elements: The projector and the two figures, grounding the composition and providing narrative context. They support the main swirl without overpowering it.
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Tertiary Elements: The textured orange background, which frames the scene and enhances mood, but remains subtle in the hierarchy.
4. FEEDBACK
Week 3
General Feedback: Mr. Shamsul emphasised the importance of visual hierarchy in our collage, noting how we applied it through flexible use of the provided materials. They highlighted that the arrangement of primary, secondary, and tertiary elements successfully guided the viewer’s attention. The creative adaptation of textures and images showed that we was able to use resources in a dynamic way rather than in a fixed manner.
Specific Feedback: No specific feedback was given.
5. REFLECTION
Experience
Throughout this project, I experienced both challenges and breakthroughs. At
first, the lack of Adobe CC access limited my ability to experiment directly,
but it encouraged me to spend more time analyzing the provided materials. Once
I began creating, I encountered moments of being “stuck,” such as with the
train and rubber plant collage, which taught me the importance of moving on
and exploring alternative directions. Each pre‑composition became a learning
stage, where I tested different principles of composition and visual
hierarchy, gradually refining my ideas until I reached a final choice.
Observation
During the observation phase, I carefully studied the textures and images
provided. I noticed how texture liquid conveyed narrative movement,
how texture grunge with its bright orange rust created strong visual
impact, and how the fish image offered surreal possibilities. These
observations shaped my creative decisions later, guiding me toward
compositions that emphasized focal points, balance, and atmosphere.
Findings
From this process, I found that I am most drawn to collages with strong
storytelling qualities. While I enjoy experimenting with scale inversion and
surreal arrangements, I ultimately prefer designs that communicate narrative
depth and emotional resonance. This realisation is why I chose Pre‑composition
2 as my final collage: it combined radial balance, contrast, and a vintage
atmosphere with a clear sense of story. The project helped me understand that
effective design is not only about technical principles but also about how
those principles can be used to create meaning and engage the viewer.
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