WEBVTT 99:59:59.999 --> 99:59:59.999 PROF VAUGHN: Okay, this video tutorial is going to give you some art historical 99:59:59.999 --> 99:59:59.999 context for what we're moving into with Photoshop, and also some basic design 99:59:59.999 --> 99:59:59.999 principle theories. 99:59:59.999 --> 99:59:59.999 So we're going to talk a little bit about composition, compositional strategies, 99:59:59.999 --> 99:59:59.999 the history of collage, which is where we're sort of launching off into our digital 99:59:59.999 --> 99:59:59.999 collages which we're gonna call composites, so they're very similar but 99:59:59.999 --> 99:59:59.999 they have a couple differences. 99:59:59.999 --> 99:59:59.999 Let's start off with composition. 99:59:59.999 --> 99:59:59.999 When we're talking about composition, we're really trying to answer this 99:59:59.999 --> 99:59:59.999 question: where do you place your elements? 99:59:59.999 --> 99:59:59.999 We're always thinking about placing our elements within our composition to get at 99:59:59.999 --> 99:59:59.999 the most dynamic interesting look possible. 99:59:59.999 --> 99:59:59.999 There are some, sort of, standards that we have in design principle. 99:59:59.999 --> 99:59:59.999 We have rules, we have compositional rules. 99:59:59.999 --> 99:59:59.999 We have the rule of thirds and we have the golden rule. 99:59:59.999 --> 99:59:59.999 We have framing and implied lines. 99:59:59.999 --> 99:59:59.999 We have background colour and atmosphere, and something we call value. 99:59:59.999 --> 99:59:59.999 So we're gonna look at these strategies so that you can use them in your own work. 99:59:59.999 --> 99:59:59.999 The rule of thirds is a really classic important strategy, typically used in 99:59:59.999 --> 99:59:59.999 photography, but we can use it also because we're using images in Photoshop 99:59:59.999 --> 99:59:59.999 and we're starting to add and combine different elements. 99:59:59.999 --> 99:59:59.999 So, in this rule, we're using an imaginary grid of 9 equal parts, the placement of 99:59:59.999 --> 99:59:59.999 your elements at the intersections equals a more interesting placement for the viewer. 99:59:59.999 --> 99:59:59.999 Um, so in this you can imagine you have a grid, so I've got 2 vertical lines and 2 99:59:59.999 --> 99:59:59.999 horizontal lines drawn in black over these sample images. 99:59:59.999 --> 99:59:59.999 Anywhere those lines sort of interact, where they cross over, so right here, 99:59:59.999 --> 99:59:59.999 right here, right here, right here, that is the most dynamic placement for any 99:59:59.999 --> 99:59:59.999 of your objects or subjects. 99:59:59.999 --> 99:59:59.999 So you can see in this photograph, our dog is placed in a really good position. 99:59:59.999 --> 99:59:59.999 This vase also, uh, picture, has sort of been placed in the same position. 99:59:59.999 --> 99:59:59.999 Any asymmetrical placement is going to create something for your viewers eye 99:59:59.999 --> 99:59:59.999 to do. 99:59:59.999 --> 99:59:59.999 The viewers eye is going to enter the image plane and give it an opportunity 99:59:59.999 --> 99:59:59.999 to travel around the composition, because this is more dynamic, more energetic, can 99:59:59.999 --> 99:59:59.999 have a feeling of tension, even. 99:59:59.999 --> 99:59:59.999 So these are kind of those power positions where you could imagine placing your 99:59:59.999 --> 99:59:59.999 objects, elements, subjects, to create the most dynamic possible position. 99:59:59.999 --> 99:59:59.999 Here's another sample, I've got the imaginary, kind of, grid drawn over this. 99:59:59.999 --> 99:59:59.999 You can see we've got our subject placed over to the left here. 99:59:59.999 --> 99:59:59.999 The eye is starting over here because this is in the foreground, and it is sort of 99:59:59.999 --> 99:59:59.999 placed off to the side, so we start here. 99:59:59.999 --> 99:59:59.999 We're sort of following the curve of the landscape, similar tonal value, following 99:59:59.999 --> 99:59:59.999 it around, and we very quickly, our eye is going to go up to this bright spot, notice 99:59:59.999 --> 99:59:59.999 this sort of castle is also at a power position at this intersection, and then 99:59:59.999 --> 99:59:59.999 we're going to travel over to this imaginary, sort of like, dragon creature. 99:59:59.999 --> 99:59:59.999 So, very dynamic position because the eye is travelling around the composition. 99:59:59.999 --> 99:59:59.999 Okay, really important classic, kind of, painting, Edmund Dulac, 99:59:59.999 --> 99:59:59.999 this is 'The Little Mermaid.' 99:59:59.999 --> 99:59:59.999 Uh, here you can see we have a composition similarly, things are asymmetrical, they are 99:59:59.999 --> 99:59:59.999 placed off to the right. 99:59:59.999 --> 99:59:59.999 It is not centered, the subject is a little bit lower, the horizon line is up about that 99:59:59.999 --> 99:59:59.999 middle third if you imagine the imaginary rule of third grid. 99:59:59.999 --> 99:59:59.999 Here gives you a kind of clear picture of, kind of, how these elements are placed. 99:59:59.999 --> 99:59:59.999 The imbalance is good here, so remember that, you actually want imbalance in 99:59:59.999 --> 99:59:59.999 your composition. 99:59:59.999 --> 99:59:59.999 If we compared them, I cropped the one on the right a little bit to make it sort of 99:59:59.999 --> 99:59:59.999 centered, the comparison should give you a good idea. 99:59:59.999 --> 99:59:59.999 Here, your eye kind of comes in and it travels up and it comes back down. 99:59:59.999 --> 99:59:59.999 In this very centered image it sort of just breaks the image plane into 2 parts. 99:59:59.999 --> 99:59:59.999 Very boring, very static. 99:59:59.999 --> 99:59:59.999 We also have 2 equal parts between the top, because the horizon line is falling in 99:59:59.999 --> 99:59:59.999 the middle, and this bottom section. 99:59:59.999 --> 99:59:59.999 So it's very very static. 99:59:59.999 --> 99:59:59.999 Our second rule is the golden ratio. 99:59:59.999 --> 99:59:59.999 This is the Greek mathematical equation, it expresses itself as a spiral. 99:59:59.999 --> 99:59:59.999 Many of the most famous pieces of art use this ratio to decide on the placement of 99:59:59.999 --> 99:59:59.999 elements, and as a natural way to lead the eye across the image. 99:59:59.999 --> 99:59:59.999 This is very popular in, um, architecture as well. 99:59:59.999 --> 99:59:59.999 The golden ratio, again, it is a mathematical equation. 99:59:59.999 --> 99:59:59.999 Once you know he equation you can use it to determine the placement and the scale 99:59:59.999 --> 99:59:59.999 of certain objects. 99:59:59.999 --> 99:59:59.999 Here's a very famous piece, you can see how that spiral is being expressed in 99:59:59.999 --> 99:59:59.999 the shape of the wave. 99:59:59.999 --> 99:59:59.999 Many, uh, very important and classic logos are based on the golden ratio. 99:59:59.999 --> 99:59:59.999 So the ratio itself is 1 to 1.618, you can see how these play out in logos that 99:59:59.999 --> 99:59:59.999 you're often very familiar with. 99:59:59.999 --> 99:59:59.999 So these all are using a ratio of 1 to 1.168: Chevron, Pepsi, all of these logos 99:59:59.999 --> 99:59:59.999 using that golden ratio. 99:59:59.999 --> 99:59:59.999 The idea behind the golden ratio is that it is a mathematical proportion, so 99:59:59.999 --> 99:59:59.999 the ratio itself is often found in nature, think of shells etcetera, things you find 99:59:59.999 --> 99:59:59.999 at the beach. 99:59:59.999 --> 99:59:59.999 Um, that idea is sort of, uh, being borrowed by designers to make logos that 99:59:59.999 --> 99:59:59.999 feel naturally balanced.