9:59:59.000,9:59:59.000 PROF VAUGHN: Okay, this video tutorial is[br]going to give you some art historical 9:59:59.000,9:59:59.000 context for what we're moving into with[br]Photoshop, and also some basic design 9:59:59.000,9:59:59.000 principle theories. 9:59:59.000,9:59:59.000 So we're going to talk a little bit about[br]composition, compositional strategies, 9:59:59.000,9:59:59.000 the history of collage, which is where we're[br]sort of launching off into our digital 9:59:59.000,9:59:59.000 collages which we're gonna call[br]composites, so they're very similar but 9:59:59.000,9:59:59.000 they have a couple differences. 9:59:59.000,9:59:59.000 Let's start off with composition. 9:59:59.000,9:59:59.000 When we're talking about composition,[br]we're really trying to answer this 9:59:59.000,9:59:59.000 question: where do you place your[br]elements? 9:59:59.000,9:59:59.000 We're always thinking about placing our[br]elements within our composition to get at 9:59:59.000,9:59:59.000 the most dynamic interesting look[br]possible. 9:59:59.000,9:59:59.000 There are some, sort of, standards that we[br]have in design principle. 9:59:59.000,9:59:59.000 We have rules, we have compositional[br]rules. 9:59:59.000,9:59:59.000 We have the rule of thirds and we have the[br]golden rule. 9:59:59.000,9:59:59.000 We have framing and implied lines. 9:59:59.000,9:59:59.000 We have background colour and[br]atmosphere, and something we call value. 9:59:59.000,9:59:59.000 So we're gonna look at these strategies so[br]that you can use them in your own work. 9:59:59.000,9:59:59.000 The rule of thirds is a really classic[br]important strategy, typically used in 9:59:59.000,9:59:59.000 photography, but we can use it also[br]because we're using images in Photoshop 9:59:59.000,9:59:59.000 and we're starting to add and combine [br]different elements. 9:59:59.000,9:59:59.000 So, in this rule, we're using an imaginary[br]grid of 9 equal parts, the placement of 9:59:59.000,9:59:59.000 your elements at the intersections equals[br]a more interesting placement for the viewer. 9:59:59.000,9:59:59.000 Um, so in this you can imagine you have a[br]grid, so I've got 2 vertical lines and 2 9:59:59.000,9:59:59.000 horizontal lines drawn in black over[br]these sample images. 9:59:59.000,9:59:59.000 Anywhere those lines sort of interact,[br]where they cross over, so right here, 9:59:59.000,9:59:59.000 right here, right here, right here, that is[br]the most dynamic placement for any 9:59:59.000,9:59:59.000 of your objects or subjects. 9:59:59.000,9:59:59.000 So you can see in this photograph, our[br]dog is placed in a really good position. 9:59:59.000,9:59:59.000 This vase also, uh, picture, has sort of[br]been placed in the same position. 9:59:59.000,9:59:59.000 Any asymmetrical placement is going to[br]create something for your viewers eye 9:59:59.000,9:59:59.000 to do. 9:59:59.000,9:59:59.000 The viewers eye is going to enter the[br]image plane and give it an opportunity 9:59:59.000,9:59:59.000 to travel around the composition, because[br]this is more dynamic, more energetic, can 9:59:59.000,9:59:59.000 have a feeling of tension, even. 9:59:59.000,9:59:59.000 So these are kind of those power positions[br]where you could imagine placing your 9:59:59.000,9:59:59.000 objects, elements, subjects, to create the[br]most dynamic possible position. 9:59:59.000,9:59:59.000 Here's another sample, I've got the[br]imaginary, kind of, grid drawn over this. 9:59:59.000,9:59:59.000 You can see we've got our subject placed[br]over to the left here. 9:59:59.000,9:59:59.000 The eye is starting over here because this[br]is in the foreground, and it is sort of 9:59:59.000,9:59:59.000 placed off to the side, so we start here. 9:59:59.000,9:59:59.000 We're sort of following the curve of the[br]landscape, similar tonal value, following 9:59:59.000,9:59:59.000 it around, and we very quickly, our eye is[br]going to go up to this bright spot, notice 9:59:59.000,9:59:59.000 this sort of castle is also at a power[br]position at this intersection, and then 9:59:59.000,9:59:59.000 we're going to travel over to this[br]imaginary, sort of like, dragon creature. 9:59:59.000,9:59:59.000 So, very dynamic position because the eye[br]is travelling around the composition. 9:59:59.000,9:59:59.000 Okay, really important classic, kind of,[br]painting, Edmund Dulac, 9:59:59.000,9:59:59.000 this is 'The Little Mermaid.' 9:59:59.000,9:59:59.000 Uh, here you can see we have a composition[br]similarly, things are asymmetrical, they are 9:59:59.000,9:59:59.000 placed off to the right. 9:59:59.000,9:59:59.000 It is not centered, the subject is a little bit[br]lower, the horizon line is up about that 9:59:59.000,9:59:59.000 middle third if you imagine the imaginary[br]rule of third grid. 9:59:59.000,9:59:59.000 Here gives you a kind of clear picture of,[br]kind of, how these elements are placed. 9:59:59.000,9:59:59.000 The imbalance is good here, so remember[br]that, you actually want imbalance in 9:59:59.000,9:59:59.000 your composition. 9:59:59.000,9:59:59.000 If we compared them, I cropped the one on[br]the right a little bit to make it sort of 9:59:59.000,9:59:59.000 centered, the comparison should give[br]you a good idea. 9:59:59.000,9:59:59.000 Here, your eye kind of comes in and it[br]travels up and it comes back down. 9:59:59.000,9:59:59.000 In this very centered image it sort of just[br]breaks the image plane into 2 parts. 9:59:59.000,9:59:59.000 Very boring, very static. 9:59:59.000,9:59:59.000 We also have 2 equal parts between the[br]top, because the horizon line is falling in 9:59:59.000,9:59:59.000 the middle, and this bottom section. 9:59:59.000,9:59:59.000 So it's very very static. 9:59:59.000,9:59:59.000 Our second rule is the golden ratio. 9:59:59.000,9:59:59.000 This is the Greek mathematical equation,[br]it expresses itself as a spiral. 9:59:59.000,9:59:59.000 Many of the most famous pieces of art use[br]this ratio to decide on the placement of 9:59:59.000,9:59:59.000 elements, and as a natural way to lead the[br]eye across the image. 9:59:59.000,9:59:59.000 This is very popular in, um, architecture[br]as well. 9:59:59.000,9:59:59.000 The golden ratio, again, it is a[br]mathematical equation. 9:59:59.000,9:59:59.000 Once you know he equation you can use it[br]to determine the placement and the scale 9:59:59.000,9:59:59.000 of certain objects. 9:59:59.000,9:59:59.000 Here's a very famous piece, you can see[br]how that spiral is being expressed in 9:59:59.000,9:59:59.000 the shape of the wave. 9:59:59.000,9:59:59.000 Many, uh, very important and classic[br]logos are based on the golden ratio. 9:59:59.000,9:59:59.000 So the ratio itself is 1 to 1.618, you can[br]see how these play out in logos that 9:59:59.000,9:59:59.000 you're often very familiar with. 9:59:59.000,9:59:59.000 So these all are using a ratio of 1 to[br]1.168: Chevron, Pepsi, all of these logos 9:59:59.000,9:59:59.000 using that golden ratio. 9:59:59.000,9:59:59.000 The idea behind the golden ratio is[br]that it is a mathematical proportion, so 9:59:59.000,9:59:59.000 the ratio itself is often found in nature,[br]think of shells etcetera, things you find 9:59:59.000,9:59:59.000 at the beach. 9:59:59.000,9:59:59.000 Um, that idea is sort of, uh, being [br]borrowed by designers to make logos that 9:59:59.000,9:59:59.000 feel naturally balanced. 9:59:59.000,9:59:59.000 Okay, let's talk about placement of where[br]you can put your things, again, thinking 9:59:59.000,9:59:59.000 of the golden ratio, thinking of the rule[br]of thirds, thinking about imbalance, 9:59:59.000,9:59:59.000 thinking about proportion, we're going to[br]try and do the most dynamic composition. 9:59:59.000,9:59:59.000 if we think about what is the least[br]interesting thing to do in comparison to 9:59:59.000,9:59:59.000 those strategies, it is always something[br]like this. 9:59:59.000,9:59:59.000 It is putting your main element right[br]smack in the center of your image, 9:59:59.000,9:59:59.000 of your composition. 9:59:59.000,9:59:59.000 The horizon line directly down the center[br]axis, super boring, avoid this. 9:59:59.000,9:59:59.000 We can think about giving our sense of-[br]giving our composition a sense of space. 9:59:59.000,9:59:59.000 When we're thinking of creating a sense of[br]space, remember we're working 2 9:59:59.000,9:59:59.000 dimensionally, but we're creating an[br]illusion of depth. 9:59:59.000,9:59:59.000 There are several ways to do this, we can[br]use framing elements, put things in the 9:59:59.000,9:59:59.000 foreground, angles and implied lines, or[br]atmospheric perspective and value. 9:59:59.000,9:59:59.000 Framing, super simple concept, you're[br]thinking about what is on the edges of 9:59:59.000,9:59:59.000 your image, left and right, top and[br]bottom. 9:59:59.000,9:59:59.000 You can think about it sort of like a [br]vignette, but anytime you have elements 9:59:59.000,9:59:59.000 that are used as a frame, your viewer[br]has the inclination to look through 9:59:59.000,9:59:59.000 thus these things that they're looking[br]through become kind of a, uh, 9:59:59.000,9:59:59.000 highlighted aspect, if you will. 9:59:59.000,9:59:59.000 When we're thinking about framing, it's[br]important to just note the following: 9:59:59.000,9:59:59.000 foreground, this word means anything[br]sort of in the frontal view right here. 9:59:59.000,9:59:59.000 Our midground appears about here[br]in an image, and our background of 9:59:59.000,9:59:59.000 course is the farthest away, so it[br]should be back here. 9:59:59.000,9:59:59.000 2 dimensional plane, so again it's an[br]illusion of space. 9:59:59.000,9:59:59.000 If we were to print this it's actually a[br]flat object. 9:59:59.000,9:59:59.000 Here's another example, what could be[br]placed in the foreground to create a 9:59:59.000,9:59:59.000 sense of space? 9:59:59.000,9:59:59.000 Particularly we know in our brain that[br]this is a small flower, but when placed 9:59:59.000,9:59:59.000 bigger in the foreground and we let[br]the background kind of go blurry, we know 9:59:59.000,9:59:59.000 that the landscape is actually very[br]dominant, it's huge compared to the 9:59:59.000,9:59:59.000 actual scale of the flower, but by giving[br]the flower some prominence in the 9:59:59.000,9:59:59.000 foreground, we have a greater sense of[br]space. 9:59:59.000,9:59:59.000 Implied line, so implied lines are another[br]design principle that are very important. 9:59:59.000,9:59:59.000 And implied line is a broken line that[br]visually we begin to connect together 9:59:59.000,9:59:59.000 using our brain. 9:59:59.000,9:59:59.000 Your mind is always going to try to[br]connect the dots, creating a 9:59:59.000,9:59:59.000 sense of direction. 9:59:59.000,9:59:59.000 These are hidden directionals, remember[br]they're not actual lines they're implied 9:59:59.000,9:59:59.000 lines, so in this particular instance the[br]implied line is happening with these 9:59:59.000,9:59:59.000 concrete spheres. 9:59:59.000,9:59:59.000 We start here in the foreground, it's the[br]largest element grabbing our attention, 9:59:59.000,9:59:59.000 our mind just sort of visually steps back[br]through the composition. 9:59:59.000,9:59:59.000 So we have an implied line that's about a [br]kind of soft arch. 9:59:59.000,9:59:59.000 We have actual lines in this image too,[br]we've got a pattern in the sidewalk. 9:59:59.000,9:59:59.000 More implied line. 9:59:59.000,9:59:59.000 Think about the way perspective can work,[br]you've seen and heard of perspective but 9:59:59.000,9:59:59.000 here we have a lot of actual line and [br]implied line. 9:59:59.000,9:59:59.000 Implied line happening here, we've got[br]this sort of repeated element dropping 9:59:59.000,9:59:59.000 from the foreground into the background,[br]same here. 9:59:59.000,9:59:59.000 We have actual line with these sort of[br]concrete, and the lines of the sidewalk, 9:59:59.000,9:59:59.000 but a lot of force here, the directional[br]given to your viewers eye is aiming 9:59:59.000,9:59:59.000 everything back to this little spot back[br]here. 9:59:59.000,9:59:59.000 Implied line is also something that's[br]connected to the gaze. 9:59:59.000,9:59:59.000 So when I say the gaze, I'm talking about,[br]um, a human or animal sort of view from 9:59:59.000,9:59:59.000 the eyeballs. 9:59:59.000,9:59:59.000 here we have our subject, they are gazing[br]this direction which, as a viewer of this 9:59:59.000,9:59:59.000 artwork, I want to know wat this person is[br]looking at, so every viewer is going to 9:59:59.000,9:59:59.000 follow the gaze, that's an implied line,[br]to this house. 9:59:59.000,9:59:59.000 It's coming down with this sort of[br]landscape, coming back over. 9:59:59.000,9:59:59.000 Or alternately, it's going up to this[br]house and then kind of swooping 9:59:59.000,9:59:59.000 back around. 9:59:59.000,9:59:59.000 So gaze is another very very important[br]implied line. 9:59:59.000,9:59:59.000 Okay, value and space. 9:59:59.000,9:59:59.000 When we talk about value in art, we're[br]talking about the lightness or darkness 9:59:59.000,9:59:59.000 of something. 9:59:59.000,9:59:59.000 When we talk about space, again, 2[br]dimensional but we're thinking about 9:59:59.000,9:59:59.000 creating an illusion of distance. 9:59:59.000,9:59:59.000 So value, importantly, has the ability to[br]create atmospheric perspective. 9:59:59.000,9:59:59.000 Again, in this image we're getting a sense[br]of space of a distant landscape because 9:59:59.000,9:59:59.000 this mountainscape is getting, um, [br]sort of a gradation effect. 9:59:59.000,9:59:59.000 We start from dark, medium, light,[br]even lighter. 9:59:59.000,9:59:59.000 So this atmospheric perspective works a[br]lot like fog. 9:59:59.000,9:59:59.000 You can think about how things feel very[br]far away when they're foggy. 9:59:59.000,9:59:59.000 Here's another example, if you have a[br]weak atmosphere over here, you have 9:59:59.000,9:59:59.000 a certain sense of space. 9:59:59.000,9:59:59.000 A stronger atmosphere, over here, and it[br]changes the way things feel 9:59:59.000,9:59:59.000 in the distance. 9:59:59.000,9:59:59.000 Okay, value can be really really powerful,[br]you can use it to emphasize certain things. 9:59:59.000,9:59:59.000 You very very very much can create these[br]sort of bright sports or areas of high 9:59:59.000,9:59:59.000 contrast that will always draw your[br]viewers eye first. 9:59:59.000,9:59:59.000 So areas of brightness are very attractive[br]to the eyeball, we're gonna look right 9:59:59.000,9:59:59.000 here and we're gonna look right here, [br]especially because this is so dark 9:59:59.000,9:59:59.000 on something that is so bright. 9:59:59.000,9:59:59.000 More examples, so these are all focal[br]points, your eye can't not look here 9:59:59.000,9:59:59.000 at this egg. 9:59:59.000,9:59:59.000 the focal point is here because it is the[br]brightest, the highest value. 9:59:59.000,9:59:59.000 Same over here, this super high value[br]beam of light, it is so light and bright 9:59:59.000,9:59:59.000 that we start up here and our eye looks[br]down, so we've got value, we also have 9:59:59.000,9:59:59.000 a line here so we're getting a really[br]strong focal point. 9:59:59.000,9:59:59.000 Notice the placement of the main[br]subject, also in that rule of thirds 9:59:59.000,9:59:59.000 it's placed at an interesting kind of[br]dynamic position. 9:59:59.000,9:59:59.000 Okay, let's think about collage for[br]a minute. 9:59:59.000,9:59:59.000 This will be our art historical reference. 9:59:59.000,9:59:59.000 Collage comes from the French word[br]collage, which means 'to glue'. 9:59:59.000,9:59:59.000 So this is a really important word, we're[br]gonna think about how this forms the 9:59:59.000,9:59:59.000 basis of what we will be doing, which is[br]a composite, but the idea and the roots of 9:59:59.000,9:59:59.000 this history are very similar. 9:59:59.000,9:59:59.000 We draw on collage from some really[br]important art movements. 9:59:59.000,9:59:59.000 We have cubism, dada, and surrealism. 9:59:59.000,9:59:59.000 All of these movements were very art [br]historically because they integrated signs 9:59:59.000,9:59:59.000 and fragments of real things. 9:59:59.000,9:59:59.000 This is one of the first times that this[br]happened in art history, we moved away 9:59:59.000,9:59:59.000 from super realistic painting of religious[br]figures and into using these kind of 9:59:59.000,9:59:59.000 everyday materials to create a very [br]obvious art aesthetic. 9:59:59.000,9:59:59.000 In a collage, you have very obvious edges,[br]and by edges I mean these look like rough 9:59:59.000,9:59:59.000 cut pieces, right? 9:59:59.000,9:59:59.000 They're just glued down pieces of paper,[br]maybe some drawing, maybe some painting. 9:59:59.000,9:59:59.000 This was a mix of high and low art, you're[br]very familiar, we've probably seen a lot 9:59:59.000,9:59:59.000 of these kinds of pieces. 9:59:59.000,9:59:59.000 Picasso is this example here. 9:59:59.000,9:59:59.000 Cubism, you can think about in terms of[br]its sort of fragmented nature. 9:59:59.000,9:59:59.000 We have many many many parts. 9:59:59.000,9:59:59.000 Some cubism was just painted, some also[br]has collage where they glued little bits 9:59:59.000,9:59:59.000 of paper in, but either way think of[br]cubism in this sort of multifaceted nature, 9:59:59.000,9:59:59.000 they were really breaking with prior[br]traditions and attempting to show many 9:59:59.000,9:59:59.000 angles at once. 9:59:59.000,9:59:59.000 Cubism was really important because it was[br]a reaction, it was very much against the 9:59:59.000,9:59:59.000 prior tradition of Western art. 9:59:59.000,9:59:59.000 The artists broke out of artistic[br]conventions and they made work that felt 9:59:59.000,9:59:59.000 fitting for their time period. 9:59:59.000,9:59:59.000 This is Braque and Guitar. 9:59:59.000,9:59:59.000 Dada came next. 9:59:59.000,9:59:59.000 In dada artists incorporated a wide array[br]of iconography. 9:59:59.000,9:59:59.000 These are- iconography refers to signs to[br]signs and symbols. 9:59:59.000,9:59:59.000 That was reinterpreted portraits, often[br]they were figures that were sort of 9:59:59.000,9:59:59.000 fantastical, very strange. 9:59:59.000,9:59:59.000 They became a little bit more innovative[br]and used different and more material than 9:59:59.000,9:59:59.000 our surrealists, or than our cubists. 9:59:59.000,9:59:59.000 And again, iconography is really just the[br]study of interpretation of visual images 9:59:59.000,9:59:59.000 and symbols, so signs and symbols. 9:59:59.000,9:59:59.000 Hannah Hoch was a great dada artist, using[br]all magazine bits, cut found material, 9:59:59.000,9:59:59.000 interesting sense of scale in Hannah Hoch's[br]work, interesting combination of elements. 9:59:59.000,9:59:59.000 Very strange, uh, fantastical odd[br]portraits. 9:59:59.000,9:59:59.000 Hannah Hoch is known for saying "there[br]are no limits to the material available 9:59:59.000,9:59:59.000 for pictorial collages, above all they[br]can be found in photography, but also 9:59:59.000,9:59:59.000 in writing and printed matter even in[br]waste products." 9:59:59.000,9:59:59.000 Here are some more samples of Hannah[br]Hoch pulling and pushing against 9:59:59.000,9:59:59.000 propaganda imagery, things found in[br]newspapers.