ARTICULATION DOCUMENT
T255 Visual Storytelling
MODULE STRUCTURE
Module Category: Specialisation
Level (year of study): Year 2
Credit Units: 4 Modular Credits
Curriculum Hours: 90
Contact Hours: 60 hrs. over 15 weeks; or equivalent 4 hours per week
Module Assessment: Continuous Assessment: 60%
(15 Daily Grades )
Summative Assessment: 40%
Understanding Test 1: 10%
(Online; Open book)
Understanding Test 2: 10%
(Online; Open book; Written)
Understanding Test 3: 20%
(Online; Open book)
SECTION 2: MODULE OVERVIEW
This module aims to identify and apply various theories and techniques of telling
stories visually, with the goal of enabling students to create effective visual sequences of
their own. Digital imaging, storyboarding and video-editing are covered extensively, and,
through analysis, discussion, and practice, students will develop the ability to create, select,
and place images in sequence so as to maximize the dramatic effect of a work.
Through observation, discussion, analysis, and hands-on practice, students will
become fluent in the grammar/ terminology/ techniques of visual storytelling learn to
identify and understand the emotional and dramatic development in a short story, and be
able to translate that development into an effective visual sequence.
School of Technology for the Arts, Republic Polytechnic
T255 Visual Storytelling
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MODULE OBJECTIVES AND LEARNING OUTCOMES
Following are the Content-related abilities, strengthened by the curricular processes of the
Module:

1. Recognise and identify the ‘building blocks’ or grammar of visual storytelling (which
include composition/framing; lines/shapes/perspective; colour/lighting;
movement/action; rhythm/pace, etc.).
2. Apply use of these ‘building blocks’ to create sequences that will translate to engaging
visual stories.
3. Demonstrate competency in the application of fundamental techniques commonly
used in visual storytelling (i.e., continuity, eye line, screen direction, parallel
sequences, reaction shots, stretching/compressing of time, etc.), adapting
appropriately for different screen- based media.
4. Show how visual sequences can be designed and edited to enrich and dramatize the
development and emotional effect of a story (i.e., through characterisation,
narrative approaches, cause & effect, etc.)
5. To be able to show how elements of story can be expressed and enhanced through
visual means (i.e., a character’s emotion/motivation, plot, conflict, surprise,
tension/release, etc.).
6. To understand that the creation of an effective image or visual sequence is intentional
and conscious, and that its purpose is to trigger strong intellectual and emotional
responses in an audience.
7. To develop observation, comprehension, and analytical skills to “read” images better.
PROBLEMS 1 TO 5
Through the Modern Gestalt Theoretical framework, students will understand how the
human mind process individual visual elements and combine them to attempt to
understand the image as a whole. By studying both individual images and a collective of
images, students will be able to identify and list the commonly used visual elements such as:
Dots; Lines; Direction; Motion; Shape; Space; Colour; Tone; Texture; Scale; Dimension, that
can help them derive meaning while reading images. Students will also be able to
distinguish between the explicit context and implicit context of static visual images by
understanding how Composition and Framing works in static visual images.
PROBLEMS 6 TO 12
Students will move into producing sequential images through a planning a comic story and
also storyboards moving visual sequences. Students will apply the visual elements
previously learned into creating dynamic sequential images such as comic strips and
storyboards to enhance the dramatic appeal of their stories.
From static visual narratives, the problems are then designed to progressively introduce
theories and techniques to develop narratives for moving visual stories. Students will learn
and apply theoretical frameworks, Mise-En-Scene and avanced editing techniques like the
Kuleshov effect, parallel editing and using edit transitions that can manipulate rhythm and
pacing of their stories. Students will apply visual composition rules in conjunction with the
above-mentioned techniques to enhance both the dynamic and emotional appeal of a story.
School of Technology for the Arts, Republic Polytechnic
T255 Visual Storytelling
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PROBLEMS 13 TO 15
Short Fiction Project – These last 3 Problems allow students a chance to conceptualize and
create a short fiction video story in which they have to apply both theoretical frameworks
and techniques covered in the earlier 12 weeks of the module. These last 3 problems take
student from the conceptualization stage of a story to the visualization stage and finally the
execution of the story as a video story. This purpose of this mini project was also to allow
them an opportunity to produce a creative work that could go into their portfolios.
PROBLEM TRIGGER TOPICS
P1 Understanding Visual Images
P2 Visual Elements I: Dot/Line/Shapes/Scale/Direction/Space/Texture/Dimension
P3 Visual Elements II: Colour/Tone/Lighting
P4 Visual Elements III: Composition & Framing
P5 Storytelling Through Photo-Essay
P6 Storytelling Through Mise-En-Scene Elements
P7 Trailer Part I: Storyboarding
P8 Trailer Part II: Editing for Rhythm & Pace
P9 Trailer Part III: Film and Edit
P10 Artifacts and Visual Metaphors In Storytelling
P11 Short Films Analysis: Narrative Structure and Genre
P12 Short Fiction Project: Crafting the Story and Storyboard
P13 Fiction Project: Filming + Behind The Scenes documentation
P14 Short Fiction Project: The Final Edit
P15 The Final Project Critique & Review
Allocated time per day
Module Coverage & Learning
Outcomes
Discussions in
Study Cluster
1.Recognise and identify the
‘building blocks’ or grammar of
visual storytelling (which include
composition/framing;
lines/shapes/perspective;
colour/lighting; movement/action;
rhythm/pace, etc.).
2. Apply use of these ‘building
blocks’ to create sequences that will
translate to engaging visual stories.
School of Technology for the Arts, Republic Polytechnic
T255 Visual Storytelling
Resource
gathering and Skills acquisition
team work
and practice
3
4
4
3
4
5
Page 3
3. Demonstrate competency in the
application of fundamental
techniques commonly used in visual
storytelling (i.e., continuity, eye line,
screen direction, parallel sequences,
reaction shots, stretching/
compressing of time, etc.), adapting
appropriately for different screenbased media.
3
4
6
4. Show how visual sequences can
be designed and edited to enrich
and dramatize the development and
emotional effect of a story (i.e.,
through characterisation, narrative
approaches, cause & effect, etc.)
(design/photography/videography).
3
4
8
3
4
6
6. To understand that the creation of
an effective image or visual
sequence is intentional and
conscious, and that its purpose is to
trigger strong intellectual and
emotional responses in an audience.
3
4
8
7. To develop observation,
comprehension, and analytical skills
to “read” images better.
2
4
5
Total Hours Per Semester
(15 Problems @ 6hrs = 90 hours )
20
28
42
5. To be able to show how
elements of story can be expressed
and enhanced through visual
means (i.e., a character’s
emotion/motivation, plot, conflict,
surprise, tension/release, etc.).
School of Technology for the Arts, Republic Polytechnic
T255 Visual Storytelling
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TEACHING AND LEARNING
This module equips students who wish to pursue a career in the Creative Industries with
necessary creative, critical, and technical skills. The module emphasise traditional
intellectual skills in terms of writing short reports, and conducting appropriate research
when preparing for projects. Students are routinely required to conduct seminar discussions
and presentations. The Module inspires and nurtures creative expression, in terms of both
form and content, and in the context of both individual and group productions. Students are
encouraged to analyse contemporary culture to develop their area of expertise. Throughout
the module, engagement with new, digital technologies is emphasised.
The module is predominantly delivered via a Problem- based learning style curriculum.
However, up to 15% of the module uses a technical hands-on tutorials style curriculum. The
module is predominantly taught in classrooms, studio, and spaces that simulate a realistic
professional setting and also involves a field trip, a mini project with a simulated industry
client.
LEARNING RESOURCES
Recommended online resources
A Learning Space dedicated to the Art of Film Sound Design http://www.filmsound.org
Art, Design and Visual Thinking: Introduction to the Elements of Design.
http://char.txa.cornell.edu/language/element/element.htm
Basic Techniques in Storyboarding http://storyboard.cfms.uct.ac.za/cinematography.htm
General Online Resources for News and Tips from Film Industry.
http://www.filmindustrynetwork.biz/resources
Award-winning website with film reviews, commentaries, and film reference material
http://www.filmsite.org
Recommended books
Block, Bruce. The Visual Story: Creating the Visual Structure of Film, Media and Digital Media
[2nd Ed.]. Focal Press 2008.
Begleiter, Marcie. From Word to Image: Storyboarding and the filmmaking Process [2nd Ed].
Michael Wiese Productions, 2010.
Beiman, Nancy. Prepare to Board: Creating Story and Characters for Animated Features and
Shorts. Focal Press,
School of Technology for the Arts, Republic Polytechnic
T255 Visual Storytelling
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Caputo, Tony, Harlan Ellison & Jim Steranko. Visual Storytelling: The Art & Technique. WatsonGuptill Publications, New York, 2003.
Johnson, Crockett. Harold and the Purple Crayon, Harper Collins Publishers, 1955.
Katz, Steven D. Film Directing shot by shot: visualizing from Concept to Screen. Michael Wise
Productions, 1991.
Klanten, R & Ehmann S, Schultze F. Visual Storytelling: Inspiring a New Visual Language
Gestalten, Berlin 2011.
Kress, G & van Leeuwen, T. Reading Images: The Grammar of Visual Design. Routledge, 1996.
Madden, Matt. 99 Ways To Tell a Story: Exercises in Style. Jonathan Cape (Random House),
London, 2006.
McCloud, Scott. Understanding Comics: The Invisible Art. Harper Collins, New York, 1994.
Thompson,Roy and Bowen, Christopher. Grammar of the Edit [2nd Ed]. Focal Press, 2009.
School of Technology for the Arts, Republic Polytechnic
T255 Visual Storytelling
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