Illustration & Visual Narrative - Task 2: Composition

Task 2: Composition

In this task, we were required to create a landscape background for our character that tells a story. We needed to design three backgrounds in total. Since I genuinely love all three of my characters, I decided to create one unique background for each of them.

Reference

Before I started sketching, I searched for inspiration on Pinterest. Since the overall theme of my characters is circus-related, I specifically looked for circus-themed illustrations. Below are some of the references I gathered from Pinterest.

Figure 1.1 Reference from Pinterest 1

Figure 1.2 Reference from Pinterest 2

Furthermore, I studied how to create a good composition when drawing a landscape background. A strong composition involves arranging visual elements in a way that is balanced, engaging, and effectively communicates a clear story or emotion. I watched several videos on YouTube learning about composition. Below is a summary of the key points I have learned:

• Make a focal point (character) to decide what the viewer should look at first
• Use contrast, placement, size, or color to make it stand out.
• Use the Rule of Thirds/Golden spiral - Place important elements along the lines or at the intersections to create natural balance and tension.
• Balance the elements and avoid crowding everything on one side.
• Include foreground, middle ground, and background to add a sense of space.

Sketches

Although all three of my characters are based on the circus, I didn’t want them to share similar backgrounds. So, I revisited the rationale behind each character and explored how their expressions, behaviors, and visuals could fit into different narrative scenarios.

Pengini

I began with the most straightforward one, Pengini the magician penguin. From its expression, it looks confused, as if wondering why nothing is coming out of its hat. I imagined this happening during a stage performance, like an unexpected moment when both the magician and the audience are puzzled. So, in the background, I illustrated the magician penguin looking confused, the audience equally perplexed, and even the backstage staff unsure of what’s going on. I included circus elements like curtains and triangle flag bunting to complete the scene. Below is the sketch I developed.

Figure 2.1 Pengini sketch

Leo Bounce

Next is the Leo Bounce, the lion juggler. The way it tilts its head gives off a slightly eerie vibe. Rather than placing it in a cheerful circus setting, I chose a dark, shady storeroom as the background. The lion is hiding quietly, illuminated only by a single beam of light from the slightly opened door. The surroundings are filled with old circus equipment, suggesting it’s a hidden storage space within the circus grounds.

Figure 2.2 Leo Bounce sketch

Balloo

The last one is the balloon dog, Balloo. Since the character is already a balloon with an unwilling, sad expression, I imagined it being one of the many balloons handed out to children. So, I drew the clown balloon floating among other cheerful balloons, being distributed by a clown at the circus entrance. The background is bright and lively, filled with happy children and decorations, but the balloon clown stands out with its somber expression, subtly telling a different story.

Figure 2.3 Balloo sketch

Outline

After finishing and feeling satisfied with my sketches, I began creating the outlines in Adobe Illustrator. I started by building each asset individually using the Shape and Pen tools. For any excess lines, I used the Shape Builder Tool or Pathfinder Tool to merge or subtract parts of the asset.

Figure 3.1 Asset building

After that, I placed all the assets together on the landscape artboard and began adjusting their angles and proportions to ensure the overall composition looked balanced. Below is the outcome for my outline.

Figure 3.2 Outline

Colouring

After finalizing the composition, I began filling in the shapes with colour. I used both Live Paint Bucket and Shape Builder for the colouring. To ensure the background felt harmonious with the character design, I extracted the colour palette from the character itself. My goal was to create a background that complements the character without causing it to blend in. Therefore, while maintaining overall colour harmony, I used different colour for the background that differs with the character to help the character stand out. I started with filling up the colour without considering the shadow and lighting first.

Figure 4.1 Leo Bounce Colouring

Figure 4.2 Pengini Colouring

Figure 4.3 Balloo Colouring

Shadow & Lighting

Then, after applying the base colors, I added shadows based on my understanding of light and form, for example, when one object blocks another, it casts a shadow. Before I add the shadow, I identified the source of lighting. To create the shadows, I duplicated the object layer, erased the unnecessary parts, and set the layer to "Multiply" to blend it naturally with the base color. 

Figure 5.1 First trial without gradient

Overall, the lighting looks good by using plain colors with the Multiply blending mode for the shadows. However, since this task required the use of gradients, I incorporated gradients into the shadow layer as well, enhancing the depth and making the shadow transitions smoother.

Figure 5.2 Gradient

For the gradient, instead of using plain colours, I used a gradient from peachy beige to lavender purple. The peachy beige faces the light source, while the lavender purple represents the area that doesn’t receive light. Rather than using traditional black or gray shadows, this colour choice adds harmony to my overall color scheme, which features a more playful tone for both the character and background. At the same time, it helps create depth and suggests a subtle light source.

Figure 5.3 Multiply

I used the Multiply blending mode to overlay elements and create shadow effects. I also erased areas where shadows were not needed. Below are the overlays I created for the shadow. After several layers and some trial and error, the shadow overlays helped make the overall illustration feel more lively and playful, with balanced and appealing lighting.

Figure 5.4 Shadow Overlay

Compared to using plain color, the gradient shadow looks more visually appealing and dynamic. Below is a comparison between the plain colour and the gradient shadow.

Figure 5.5 Comparison between plain colour and gradient shadow

Refinement

I asked for feedback from Mr. Hafiz, and overall, he said the composition was good and the illustration looked nice. However, I only just found out that we were supposed to refer to Framed Ink for the composition references. I was absent last week, so I wasn’t aware of this until now. After going through Framed Ink, I selected some suitable composition references. What I’ve learned from the book is how it uses composition, lighting, and perspective to create cinematic scenes in illustrations, allowing a single image to tell a powerful story.

Therefore, based on the references I selected from Framed Ink, I adjusted the position and perspective of the elements, as well as the lighting, to make the composition more in line with the reference. Below are some examples from Framed Ink that I referred to, along with the adjustments I made to my illustration.

Figure 6.1 Leo Bounce, Use of negative space

In this composition, I was inspired by the use of a single light source to control focus and mood, just like in the reference. I placed a beam of light coming from the left to highlight certain objects in the scene, especially the Leo Bounce with its tilted head, making it the main focus and giving it a slightly creepy feel. The other items like the boxes, unicycle, and balls are kept in shadow or dim light, which helps draw more attention to Leo Bounce. This lighting creates depth and gives the feeling of an old, quiet circus storage room, where the toys and props are just waiting. The dark areas around the edges also help frame the scene and guide the viewer’s eyes toward the center, adding to the mood and story of the piece.

Figure 6.2 Pengini, Looking down

In this illustration, I was inspired by the use of framing, eye direction, and elevated camera angles to guide the viewer’s focus and emotion, as shown in the reference. I placed the Pengini, the magician penguin at the center of the stage, framed by the spotlight and stage curtains, to draw full attention to the character. The audience is viewed from behind, with all their eyes directed toward the magician, emphasizing the penguin’s role as the focal point. The magician’s expression shows confusion and embarrassment, as the magic trick has failed and nothing is coming out of the hat. With every audience member watching from all directions, the feeling of embarrassment becomes even stronger. This setup not only establishes a clear visual hierarchy but also mirrors the theatrical tension in the reference, where lighting, eye direction, and composition come together to tell a focused and emotional story.

Figure 6.3 Balloo, Big, medium, small

In this illustration, I used the "Big, Medium, Small" composition technique to create depth, movement, and a clear visual flow. The big clown on the right stands out in the front, catching the viewer’s eye first. I used darker colors on the clown to make it feel more like a supporting character. The medium-sized animal balloons float diagonally across the middle, with the bright central balloon, the main character Balloo standing out as the main focus. The strings connecting them to the clown suggest that the clown is handing out the balloons, adding a bit of story and motion. Smaller details like the floating balloons and circus tents in the background help build the setting and add depth. This mix of sizes keeps the scene from looking flat and makes it feel more lively and fun, matching the playful circus theme.

Submission

Compilation Link: Link

Figure 7.1 Pengini Final

Figure 7.2 Pengini Reference Board

Figure 7.3 Leo Bounce Final

Figure 7.4 Leo Bounce Reference Board

Figure 7.5 Balloo Final

Figure 7.6 Balloo Reference Board

Reflection

Throughout this task, I have gained a deeper understanding of composition. A good composition is not just about the placement of objects such as distinguishing the foreground, midground, and background, but also involves considering lighting, perspective, scale, and more. All aspects must work together to create a compelling visual. By studying Framed Ink, I learned how different composition techniques can make a single image feel like it tells a story, allowing viewers to imagine the narrative behind it.

In addition, I’ve improved my skills in colouring. Previously, I struggled with colouring, especially in environmental design. Through this task, I’ve trained myself to create harmonious colour schemes using palettes, apply the multiply mode to create shadows, use layering to enhance depth, and incorporate gradients to make colours more dynamic even within shadows.

Overall, I am satisfied with the outcome and have discovered how Adobe Illustrator can make illustration work more efficient and enjoyable. This task has boosted my confidence, and I look forward to creating more artwork using Adobe Illustrator in future assignments.