2D Project 3: Ego in different settings (Final)

Process parts 1-3 can be found here:

2D Project 3: Ego in different settings (Process Pt.1 & 2)

2D Project 3: Ego in different settings (Process Pt.3)

Presentation layout
 Equation 1
When a timid person is alone, he tends to be more expressive.
Equation 1
Timid me

Square colour harmony

In this colour harmony, there are two sets of complementary colours, each set has a dominant and subdominant colour.

– yellow  & blue, yellow dominant

– green & red, green dominant

I used an overall muted colour scheme to depict a typical boring classroom environment. The shadows make the light more contrasting and prominent, also, the direction of light and where the other characters are looking draws your attention to the character in focus.

In the shower

Split complementary colour harmony

A warm and vibrant orangey composition to depict a relaxing afternoon bath, with a bit of blue and green to complement it and to give it a strong visual contrast between warm and cool colours. Again, the ray of light from the window draws attention to the character, also, the darker foreground elements to give a sense of depth.

Rock star

Analogous colour harmony

For analogous there would typically be a dominant, subdominant and a third colour to be used as an accent.

In this case, blue violet is the dominant, violet and pink are the subdominant and the red along with the whites are the accents. There is an overall harmonious blend of colours, depicting a night time concert.

The lack of details in the background make it seem very foggy which gives a sense of depth that the location is very large. Due to the strong spotlight, the main character and the surrounding audience is given a rim light so that the mid and foreground elements interact with each other.


Equation 2
Because I own the Lamborghini of electric unicycles. endangering lives since 2017.
Equation 2


Tired from walking

Split complementary colour harmony

The amount of blue and orange/yellow is slightly equal so there isn’t really a dominant colour, the warm and cool colours are balanced out.

This is a late afternoon setting as you can tell from the orange light cast on the ground and the long shadows of the trees. The rim light on the trees make them stand out more. The trees nearer are darker and those further are lighter.

Riding on electric unicycle

Triadic colour harmony

Triadic colours of red, blue and yellow. For this colour harmony, there is typically a dominant and two other colours for the accents. In this case, blue is the dominant.

I tried to keep this one simple, no details besides the rim light which shows the form of some of the elements such as the guy’s body and the details of the bridge. Clouds used to draw your eye to the guy and to balance the composition, on the left is giant cloud + less trees, on the right, small cloud + more trees.

F1 racer

Split complementary colour harmony

I initially wanted to go for a muted colour scheme of like a typical race track scene of grey roads and a few coloured cars, but in the end i referenced the Cars movie from Pixar and went for a desert sunset theme instead. The dominant colours are orange and yellow, with blue as the cast shadows.

Also, a dutch tilt to make it more dynamic since it’s a moving race car, lines on the ground also act as perspective lines to give it a sense of perspective.

Equation 3
Drawing and daydreaming in lectures, mostly Art History, nothing against you Prof. Walsh.
Equation 3


Bored at a lecture

Analogous colour harmony

Colours give it a very sleepy and dream like state kind of environment, as well as the lack of strong contrasting colours which makes it sort of muted which adds to the sleepy feel.

Character in focus is of a slightly brighter colour as compared to the rest, who are tinted with pinkish red to make them blend in with the environment and less prominent.

Since there are so many people, one way to make this one guy stand out is to make him brighter and another way was to use the rule of thirds to place him in an area of focus.


Analogous colour harmony

I wanted to go for a late afternoon time of day and hence chose a colour scheme of red-orange, orange, and yellow-orange the floor is made completely white to show there’s a very strong sunlight casting down, which allowed me to draw in contrasting cast shadows.

In my own world

Split complementary colour harmony

I wanted to go for a very joyous, adventurous and majestic feel to this illustration, I took inspiration from DreamWork’s How to Train Your Dragon, where a bunch of dragons are flying above the clouds with what is called ‘god light’ shining down to give it that majestic feel. Rim lights are added to the clouds to give the volume.

Initially, it looked very plain and boring and i wanted to scrap it, but after adding lights everywhere it became one of my favourites out of the twelve.

Equation 4
I don’t pull all-nighters, it’s just for the sake of this equation :p
Equation 4


Pulling all-nighters

Complementary colour harmony

The turquoise window with the rain outside gives a very cozy feeling in the otherwise dull coloured room. There are two elements of focus, one is the window on the left and the other one is the main light source on the right, the two balances each other out.

There are rim lights on the elements in the darkness, again, to make them interact with the lights. The blurred foreground element gives depth to the image.

Final presentation

Split complementary harmony

A strong cone of light to draw your attention to the area. Characters in the foreground have rim light to show that there is interaction between foreground and mid ground.


Split complementary harmony

I went for a colour scheme which portrayed a relaxing sunny white sandy beach and cool turquoise water. I used a  diagonal composition as since the guy is laying down, I didn’t want him to be parallel with the sides. I filled in the empty spaces of the beach with bushes and details of small rocks and seashells and Cody the Crab™.


Research and references

My greatest inspiration was from Pascal Campion’s illustrations, whose illustrations always tell a story and are visually engaging.

Artworks by Pascal Campion

I also referenced a few colour schemes from colour keys and scripts of animated films. I find these very inspiring as the artist is able to use lighting and colours in such small thumbnail illustrations to tell a story.

Storyboard colour keys – Finding Nemo
Colour scripts – Cloudy with a Chance of Meatballs

When I test printed, the colours turned out quite yellowish. I had to apply a colour balance to all my illustrations to cancel it out. I eventually went for the top right adjustments.


A challenge i faced was working with square compositions and not the usual 16:9, it was quite challenging to get a good composition from such a small working space, but I think I made it work by keeping most of the elements in focus off centre and using the rule of thirds, along with the lighting.

I also tend to colour pick a lot from existing illustrations, the colours work but I have to tweak or remove some colours so that they fit into one of the colour harmonies taught to us. I find that colour picking is a very good way of approaching illustrating especially when you are not good with colours because you can see the colours the artist used and you can visualise how they would work with your own drawing.

This project has been very fun as I have never done so many illustrations before in one project, it has definitely improved my sense of colour usage and visualisation.


Find cody in all 12 illustrations c:




2D Project 2: Forrest Gump (Final Project & Research)

Below are the links to Process Part 1 and Part 2:

2D Project 2: Forrest Gump (Process Pt. 1)

2D Project 2: Forrest Gump (Process Pt. 2)

Final 4 designs

Design 1
Design 2
Design 3
Design 4



Presentation layout



For this project, I looked towards surrealism as it is a style in art that feature the element of surprise and unexpected juxtapositions.

African Sonata – Vladimir Kush
Redwood Cutting – Vladimir Kush

I also aimed to use anthropomorphism for this project as it is an easy way to make things look more interesting and visually engaging.


The first artist I researched on was Eugenia Loli, courtesy of Joy, I like how she merges different elements of different ‘styles’ but is still able to make them work and come together as a whole.



Joy had initially given me the idea of replacing the power plant chimneys with cigarettes, which I thought was pretty cool, I went on to research on anti-smoking posters and other similar posters, they subvert the meaning of the object in focus and lets the viewer think about the meaning of the object in its new ‘environment’.


2D Project 1 : My Line in Emo (Final Project)

The aim of this project is to visually convey six different emotions by exploring expressive mark making through the use of traditional tools.


Project 1 – My Line is Emo




An extremely strong reaction of anger, shock, or indignation.


Portrayed by sharp and crisp lines swooshing by in a swift manner. When one is outraged, he would go out of control and unleash his fury in all directions, similarly, the lines seem to be flying in random directions as if in a pit of rage. The trails of ink give the lines a sense of movement and the direction they are moving in, making them look more dynamic in nature. The thick trails of ink also gives a contrast to the more thinner lines.


Created by chopping satay sticks dipped in Chinese ink onto paper. Trails of ink are created by simply dragging the satay sticks across the paper.



A feeling of great happiness and triumph.


For happiness, I imagined little children playing in a playground, and therefore it inspired me to portray the emotion as little sprites, who are known to be playful creatures in fictional tales, jovially whizzing through the air. The trail the sprites leave behind creates a sense of movement and direction. The angle of which the sprites are facing creates a sense of randomness as they are not bouncing in sync but at their own pace, making them energetic and full of life.


Created by dragging a scrunched up ball of paper dipped in Chinese and monoprint ink across the surface. I had to make sure there wasn’t too much ink on the ball of paper or else the ink trails will be too concentrated and the texture wouldn’t show.



Severe mental or physical pain or suffering.


The texture immediately reminded me of the sky from ‘The Starry Night’ by Vincent van Gogh. More specifically, I once heard Beethoven’s Moonlight Sonata, which is a slow and sad piano piece, in a video online with this painting as the background. The rough and uneven texture gives a feel of desolation, the way the ink trails in one specific direction and amplitude gives it a sense of lifelessness, reflecting pain and suffering.


Created by dragging charcoal dipped in Chinese ink across the paper. The characteristic of the charcoal gives the print a rough texture while the Chinese ink smoothens it out and blends the two.



An unpleasant emotion caused by the threat of danger, pain, or harm.


With sharp and jagged elements from the top and bottom closing onto each other, creating little negative space, there is a sense of claustrophobia and uneasiness in this print. The more rough and faded ink give it texture and makes the silhouette of the jagged elements less crisp and clean, and also reduces the negative space in between, creating a greater sense of melancholy.


Created by dipping the edge of a piece of cardboard in Chinese ink and monoprint ink. The more watery Chinese ink gives a more textureless result and more crisp lines, while the thicker monoprint ink gives more texture, creating a rough trail of ink that bleeds out.



An overpowering wonder or surprise.


I portrayed this emotion by having a dense vertical disturbance suddenly interrupting the steady flow of horizontal lines. It shows how something smooth sailing can turn into a nightmare in an instant due to an external force.


Created by dragging a scrunched up ball of newsprint dipped in monoprint ink across the surface.



A great interest and pleasure in something or someone.


The lack of negative space gives a sense of darkness, with small specks of light whirling around like candlelights and also to give the scene a sense of movement. I wanted to make this an intimate environment with two ‘lovers’ in a dimly lit space. It also looks like an aerial shot where the camera pulls out up into the sky during a kissing scene.


Created by painting with a paintbrush. I did not use too much ink at once as I wanted more control so as to be able to leave tiny areas unpainted. The more narrow area around the two central elements area painted using the end of the paintbrush.


Scene from Ratatouille


Process Parts 1 and 2 can be viewed in the links below:

2D Project 1: My Line is Emo (Process Pt.1)

2D Project 1: My Line is Emo (Process Pt.2)