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Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,PROF VAUGHN: Okay, this video tutorial is\Ngoing to give you some art historical
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,context for what we're moving into with\NPhotoshop, and also some basic design
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,principle theories.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So we're going to talk a little bit about\Ncomposition, compositional strategies,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the history of collage, which is where we're\Nsort of launching off into our digital
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,collages which we're gonna call\Ncomposites, so they're very similar but
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,they have a couple differences.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Let's start off with composition.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,When we're talking about composition,\Nwe're really trying to answer this
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,question: where do you place your\Nelements?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We're always thinking about placing our\Nelements within our composition to get at
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the most dynamic interesting look\Npossible.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,There are some, sort of, standards that we\Nhave in design principle.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We have rules, we have compositional\Nrules.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We have the rule of thirds and we have the\Ngolden rule.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We have framing and implied lines.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We have background colour and\Natmosphere, and something we call value.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So we're gonna look at these strategies so\Nthat you can use them in your own work.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The rule of thirds is a really classic\Nimportant strategy, typically used in
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,photography, but we can use it also\Nbecause we're using images in Photoshop
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and we're starting to add and combine \Ndifferent elements.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So, in this rule, we're using an imaginary\Ngrid of 9 equal parts, the placement of
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,your elements at the intersections equals\Na more interesting placement for the viewer.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Um, so in this you can imagine you have a\Ngrid, so I've got 2 vertical lines and 2
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,horizontal lines drawn in black over\Nthese sample images.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Anywhere those lines sort of interact,\Nwhere they cross over, so right here,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,right here, right here, right here, that is\Nthe most dynamic placement for any
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,of your objects or subjects.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So you can see in this photograph, our\Ndog is placed in a really good position.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This vase also, uh, picture, has sort of\Nbeen placed in the same position.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Any asymmetrical placement is going to\Ncreate something for your viewers eye
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,to do.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The viewers eye is going to enter the\Nimage plane and give it an opportunity
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,to travel around the composition, because\Nthis is more dynamic, more energetic, can
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,have a feeling of tension, even.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So these are kind of those power positions\Nwhere you could imagine placing your
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,objects, elements, subjects, to create the\Nmost dynamic possible position.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Here's another sample, I've got the\Nimaginary, kind of, grid drawn over this.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You can see we've got our subject placed\Nover to the left here.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The eye is starting over here because this\Nis in the foreground, and it is sort of
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,placed off to the side, so we start here.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We're sort of following the curve of the\Nlandscape, similar tonal value, following
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,it around, and we very quickly, our eye is\Ngoing to go up to this bright spot, notice
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,this sort of castle is also at a power\Nposition at this intersection, and then
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,we're going to travel over to this\Nimaginary, sort of like, dragon creature.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So, very dynamic position because the eye\Nis travelling around the composition.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Okay, really important classic, kind of,\Npainting, Edmund Dulac,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,this is 'The Little Mermaid.'
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Uh, here you can see we have a composition\Nsimilarly, things are asymmetrical, they are
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,placed off to the right.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,It is not centered, the subject is a little bit\Nlower, the horizon line is up about that
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,middle third if you imagine the imaginary\Nrule of third grid.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Here gives you a kind of clear picture of,\Nkind of, how these elements are placed.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The imbalance is good here, so remember\Nthat, you actually want imbalance in
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,your composition.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,If we compared them, I cropped the one on\Nthe right a little bit to make it sort of
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,centered, the comparison should give\Nyou a good idea.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Here, your eye kind of comes in and it\Ntravels up and it comes back down.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,In this very centered image it sort of just\Nbreaks the image plane into 2 parts.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Very boring, very static.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We also have 2 equal parts between the\Ntop, because the horizon line is falling in
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the middle, and this bottom section.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So it's very very static.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Our second rule is the golden ratio.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This is the Greek mathematical equation,\Nit expresses itself as a spiral.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Many of the most famous pieces of art use\Nthis ratio to decide on the placement of
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,elements, and as a natural way to lead the\Neye across the image.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This is very popular in, um, architecture\Nas well.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The golden ratio, again, it is a\Nmathematical equation.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Once you know he equation you can use it\Nto determine the placement and the scale
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,of certain objects.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Here's a very famous piece, you can see\Nhow that spiral is being expressed in
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the shape of the wave.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Many, uh, very important and classic\Nlogos are based on the golden ratio.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So the ratio itself is 1 to 1.618, you can\Nsee how these play out in logos that
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,you're often very familiar with.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So these all are using a ratio of 1 to\N1.168: Chevron, Pepsi, all of these logos
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,using that golden ratio.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The idea behind the golden ratio is\Nthat it is a mathematical proportion, so
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the ratio itself is often found in nature,\Nthink of shells etcetera, things you find
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,at the beach.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Um, that idea is sort of, uh, being \Nborrowed by designers to make logos that
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,feel naturally balanced.