0:00:02.465,0:00:06.068 PROF VAUGHN: Okay, this video tutorial is[br]going to give you some art historical 0:00:06.068,0:00:12.074 context for what we're moving into with[br]Photoshop, and also some basic design 0:00:12.074,0:00:13.877 principal theories. 0:00:13.877,0:00:16.996 So we're going to talk a little bit about[br]composition, compositional strategies, 0:00:16.996,0:00:22.435 the history of collage, which is where we're[br]sort of launching off into our digital 0:00:22.435,0:00:25.588 collages which we're gonna call[br]composites, so they're very similar but 0:00:25.588,0:00:27.605 they have a couple differences. 0:00:28.256,0:00:30.493 Let's start off with composition. 0:00:30.493,0:00:33.479 When we're talking about composition,[br]we're really trying to answer this 0:00:33.479,0:00:36.599 question: where do you place your[br]elements? 0:00:36.599,0:00:43.105 We're always thinking about placing our[br]elements within our composition to get at 0:00:43.105,0:00:46.927 the most dynamic interesting look[br]possible. 0:00:46.927,0:00:51.145 There are some, sort of, standards that we[br]have in design principle. 0:00:51.145,0:00:54.415 We have rules, we have compositional[br]rules. 0:00:54.415,0:00:57.569 We have the rule of thirds and we have the[br]golden rule. 0:00:57.569,0:01:00.158 We have framing and implied lines. 0:01:00.158,0:01:04.954 We have background color and[br]atmosphere, and something we call value. 0:01:04.954,0:01:09.024 So we're gonna look at these strategies so[br]that you can use them in your own work. 0:01:10.459,0:01:15.030 The rule of thirds is a really classic[br]important strategy, typically used in 0:01:15.030,0:01:20.118 photography, but we can use it also[br]because we're using images in Photoshop 0:01:20.118,0:01:23.607 and we're starting to add and combine [br]different elements. 0:01:23.607,0:01:30.479 So, in this rule, we're using an imaginary[br]grid of 9 equal parts, the placement of 0:01:30.479,0:01:36.769 your elements at the intersections equals[br]a more interesting placement for the viewer. 0:01:36.769,0:01:43.693 Um, so in this you can imagine you have a[br]grid, so I've got 2 vertical lines and 2 0:01:43.693,0:01:48.030 horizontal lines drawn in black over[br]these sample images. 0:01:48.030,0:01:53.435 Anywhere those lines sort of interact,[br]where they cross over, so right here, 0:01:53.435,0:01:59.475 right here, right here, right here, that is[br]the most dynamic placement for any 0:01:59.475,0:02:02.344 of your objects or subjects. 0:02:02.961,0:02:07.032 So you can see in this photograph, our[br]dog is placed in a really good position. 0:02:07.032,0:02:12.656 This vase also, uh, picture, has sort of[br]been placed in the same position. 0:02:12.656,0:02:18.444 Any asymmetrical placement is going to[br]create something for your viewers eye 0:02:18.444,0:02:19.895 to do. 0:02:19.895,0:02:23.852 The viewers eye is going to enter the[br]image plane and give it an opportunity 0:02:23.852,0:02:29.513 to travel around the composition, because[br]this is more dynamic, more energetic, 0:02:30.023,0:02:32.625 can have a feeling of tension, even. 0:02:34.659,0:02:38.964 So these are kind of those power positions[br]where you could imagine placing your 0:02:38.964,0:02:44.603 objects, elements, subjects, to create the[br]most dynamic possible position. 0:02:46.522,0:02:51.195 Here's another sample, I've got the[br]imaginary, kind of, grid drawn over this. 0:02:51.195,0:02:55.265 You can see we've got our subject placed[br]over to the left here. 0:02:55.265,0:02:59.551 The eye is starting over here because this[br]is in the foreground, and it is sort of 0:02:59.551,0:03:02.639 placed off to the side, so we start here. 0:03:02.639,0:03:06.375 We're sort of following the curve of the[br]landscape, similar tonal value, 0:03:06.375,0:03:11.399 following it around, and we very quickly, our eye[br]is going to go up to this bright spot, 0:03:11.399,0:03:16.522 notice this sort of castle is also at a [br]power position at this intersection, and then 0:03:16.522,0:03:21.442 we're going to travel over to this[br]imaginary, sort of like, dragon creature. 0:03:21.442,0:03:27.400 So, very dynamic position because the eye[br]is travelling around the composition. 0:03:30.134,0:03:33.589 Okay, really important classic, kind of,[br]painting, Edmund Dulac, 0:03:33.589,0:03:35.007 this is 'The Little Mermaid.' 0:03:35.007,0:03:40.724 Uh, here you can see we have a composition[br]similarly, things are asymmetrical, 0:03:40.724,0:03:43.022 they are placed off to the right. 0:03:44.091,0:03:49.863 It is not centered, the subject is a little bit[br]lower, the horizon line is up about that 0:03:49.863,0:03:54.349 middle third if you imagine the imaginary[br]rule of third grid. 0:03:56.052,0:04:01.739 Here gives you a kind of clear picture of,[br]kind of, how these elements are placed. 0:04:01.739,0:04:06.480 The imbalance is good here, so remember[br]that, you actually want imbalance in 0:04:06.480,0:04:07.780 your composition. 0:04:10.033,0:04:15.392 If we compared them, I cropped the one on[br]the right a little bit to make it sort of centered, 0:04:15.392,0:04:17.541 the comparison should give[br]you a good idea. 0:04:17.541,0:04:21.941 Here, your eye kind of comes in and it[br]travels up and it comes back down. 0:04:21.941,0:04:27.216 In this very centered image it sort of just[br]breaks the image plane into 2 parts. 0:04:27.216,0:04:29.418 Very boring, very static. 0:04:29.418,0:04:33.288 We also have 2 equal parts between the[br]top, because the horizon line is falling in 0:04:33.288,0:04:35.757 the middle, and this bottom section. 0:04:35.757,0:04:37.976 So it's very very static. 0:04:39.862,0:04:42.464 Our second rule is the golden ratio. 0:04:42.464,0:04:48.070 This is the Greek mathematical equation,[br]it expresses itself as a spiral. 0:04:48.070,0:04:52.006 Many of the most famous pieces of art use[br]this ratio to decide on the placement of 0:04:52.006,0:04:57.261 elements, and as a natural way to lead the[br]eye across the image. 0:04:57.261,0:05:00.548 This is very popular in, um, architecture[br]as well. 0:05:00.548,0:05:05.587 The golden ratio, again, it is a[br]mathematical equation. 0:05:05.587,0:05:10.259 Once you know he equation you can use it[br]to determine the placement and the scale 0:05:10.259,0:05:11.727 of certain objects. 0:05:11.961,0:05:16.832 Here's a very famous piece, you can see[br]how that spiral is being expressed in 0:05:16.832,0:05:18.384 the shape of the wave. 0:05:20.736,0:05:26.959 Many, uh, very important and classic[br]logos are based on the golden ratio. 0:05:26.959,0:05:34.198 So the ratio itself is 1 to 1.618, you can[br]see how these play out in logos that 0:05:34.198,0:05:36.134 you're often very familiar with. 0:05:36.134,0:05:44.125 So these all are using a ratio of 1 to[br]1.168: Chevron, Pepsi, all of these logos 0:05:44.125,0:05:47.195 using that golden ratio. 0:05:47.195,0:05:50.999 The idea behind the golden ratio is[br]that it is a mathematical proportion, 0:05:50.999,0:05:55.445 so the ratio itself is often found in nature,[br]think of shells etc, 0:05:55.445,0:05:57.353 things you find at the beach. 0:05:58.052,0:06:03.741 Um, that idea is sort of, uh, being [br]borrowed by designers to make logos that 0:06:03.741,0:06:05.794 feel naturally balanced. 0:06:08.698,0:06:15.070 Okay, let's talk about placement of where[br]you can put your things, again, thinking 0:06:15.070,0:06:19.407 of the golden ratio, thinking of the rule[br]of thirds, thinking about imbalance, 0:06:19.407,0:06:24.876 thinking about proportion, we're going to[br]try and do the most dynamic composition. 0:06:24.876,0:06:28.943 if we think about what is the least[br]interesting thing to do in comparison to 0:06:28.943,0:06:33.379 those strategies, it is always something[br]like this. 0:06:33.713,0:06:39.035 It is putting your main element right[br]smack in the center of your image, 0:06:39.035,0:06:40.971 of your composition. 0:06:40.971,0:06:45.892 The horizon line directly down the center[br]axis, super boring, avoid this. 0:06:45.892,0:06:52.600 We can think about giving our sense of-[br]our composition a sense of space. 0:06:52.600,0:06:56.164 When we're thinking of creating a sense of[br]space, remember we're working 2 0:06:56.164,0:06:59.986 dimensionally, but we're creating an[br]illusion of depth. 0:06:59.986,0:07:04.741 There are several ways to do this, we can[br]use framing elements, put things in the 0:07:04.741,0:07:11.096 foreground, angles and implied lines, or[br]atmospheric perspective and value. 0:07:12.532,0:07:16.635 Framing, super simple concept, you're[br]thinking about what is on the edges of 0:07:16.635,0:07:21.023 your image, left and right, top and[br]bottom. 0:07:21.023,0:07:25.112 You can think about it sort of like a [br]vignette, but anytime you have elements 0:07:25.112,0:07:29.179 that are used as a frame, your viewer[br]has the inclination to look through 0:07:29.179,0:07:35.004 thus these things that they're looking[br]through become kind of a, uh, 0:07:35.004,0:07:37.872 highlighted aspect, if you will. 0:07:40.159,0:07:43.813 When we're thinking about framing, it's[br]important to just note the following: 0:07:43.813,0:07:48.918 foreground, this word means anything[br]sort of in the frontal view right here. 0:07:49.501,0:07:53.857 Our midground appears about here[br]in an image, and our background 0:07:53.857,0:07:57.878 of course is the farthest away, so it[br]should be back here. 0:07:57.878,0:08:01.072 2 dimensional plane, so again it's an[br]illusion of space. 0:08:01.072,0:08:03.607 If we were to print this it's actually a[br]flat object. 0:08:04.992,0:08:08.912 Here's another example, what could be[br]placed in the foreground to create a 0:08:08.912,0:08:10.514 sense of space? 0:08:10.514,0:08:14.735 Particularly we know in our brain that[br]this is a small flower, but when placed 0:08:14.735,0:08:20.974 bigger in the foreground and we let[br]the background kind of go blurry, we know 0:08:20.974,0:08:24.643 that the landscape is actually very[br]dominant, it's huge compared to the 0:08:24.643,0:08:28.980 actual scale of the flower, but by giving[br]the flower some prominence in the 0:08:28.980,0:08:31.850 foreground, we have a greater sense of[br]space. 0:08:34.870,0:08:39.592 Implied line, so implied lines are another[br]design principle that are very important. 0:08:39.592,0:08:44.447 And implied line is a broken line that[br]visually we begin to connect together 0:08:44.447,0:08:45.915 using our brain. 0:08:45.915,0:08:49.754 Your mind is always going to try to[br]connect the dots, creating a 0:08:49.754,0:08:51.356 sense of direction. 0:08:51.654,0:08:56.527 These are hidden directionals, remember[br]they're not actual lines they're implied 0:08:56.527,0:09:00.997 lines, so in this particular instance the[br]implied line is happening with these 0:09:00.997,0:09:03.382 concrete spheres. 0:09:03.382,0:09:07.871 We start here in the foreground, it's the[br]largest element grabbing our attention, 0:09:07.871,0:09:12.693 our mind just sort of visually steps back[br]through the composition. 0:09:12.693,0:09:17.598 So we have an implied line that's about a [br]kind of soft arch. 0:09:18.249,0:09:22.268 We have actual lines in this image too,[br]we've got a pattern in the sidewalk. 0:09:22.268,0:09:25.554 More implied line. 0:09:26.655,0:09:31.176 Think about the way perspective can work,[br]you've seen and heard of perspective but 0:09:31.176,0:09:34.946 here we have a lot of actual line and [br]implied line. 0:09:34.946,0:09:39.236 Implied line happening here, we've got[br]this sort of repeated element dropping 0:09:39.236,0:09:43.408 from the foreground into the background,[br]same here. 0:09:43.756,0:09:49.580 We have actual line with these sort of[br]concrete, and the lines of the sidewalk, 0:09:49.580,0:09:55.469 but a lot of force here, the directional[br]given to your viewers eye is aiming 0:09:55.469,0:09:59.239 everything back to this little [br]spot back here. 0:09:59.239,0:10:05.175 Implied line is also something that's[br]connected to the gaze. 0:10:05.175,0:10:10.532 So when I say the gaze, I'm talking about,[br]um, a human or animal sort of view from 0:10:10.532,0:10:12.015 the eyeballs. 0:10:12.015,0:10:18.612 Here we have our subject, they are gazing[br]this direction which, as a viewer of this 0:10:18.612,0:10:23.904 artwork, I want to know what this person is[br]looking at, so every viewer is going to 0:10:23.904,0:10:27.223 follow the gaze, that's an implied line,[br]to this house. 0:10:27.223,0:10:31.077 It's coming down with this sort of[br]landscape, coming back over. 0:10:31.077,0:10:34.949 Or alternately, it's going up to this[br]house and then kind of swooping 0:10:34.949,0:10:36.098 back around. 0:10:36.098,0:10:40.237 So gaze is another very very important[br]implied line. 0:10:42.540,0:10:44.609 Okay, value and space. 0:10:44.609,0:10:50.179 When we talk about value in art, we're[br]talking about the lightness or darkness 0:10:50.179,0:10:51.932 of something. 0:10:51.932,0:10:56.050 When we talk about space, again, 2[br]dimensional but we're thinking about 0:10:56.050,0:10:59.522 creating an illusion of distance. 0:10:59.807,0:11:05.376 So value, importantly, has the ability to[br]create atmospheric perspective. 0:11:05.376,0:11:12.567 Again, in this image we're getting a sense[br]of space of a distant landscape because 0:11:12.567,0:11:17.491 this mountainscape is getting, um, [br]sort of a gradation effect. 0:11:17.491,0:11:21.378 We start from dark, medium, light,[br]even lighter. 0:11:21.378,0:11:24.759 So this atmospheric perspective works a[br]lot like fog. 0:11:25.425,0:11:30.414 You can think about how things feel very[br]far away when they're foggy. 0:11:31.814,0:11:38.048 Here's another example, if you have a[br]weak atmosphere over here, you have 0:11:38.048,0:11:40.384 a certain sense of space. 0:11:40.384,0:11:45.441 A stronger atmosphere, over here, and it[br]changes the way things feel 0:11:45.441,0:11:46.874 in the distance. 0:11:50.528,0:11:55.732 Okay, value can be really really powerful,[br]you can use it to emphasize certain things. 0:11:55.732,0:12:01.349 You very, very, very much can create these[br]sort of bright sports or areas of high 0:12:01.349,0:12:06.807 contrast that will always draw your[br]viewers eye first. 0:12:06.807,0:12:10.458 So areas of brightness are very attractive[br]to the eyeball, we're gonna look right 0:12:10.458,0:12:15.582 here and we're gonna look right here, [br]especially because this is so dark 0:12:15.582,0:12:18.885 on something that is so bright. 0:12:18.885,0:12:24.573 More examples, so these are all focal[br]points, your eye can't not look here 0:12:24.573,0:12:26.242 at this egg. 0:12:26.242,0:12:31.128 The focal point is here because it is the[br]brightest, the highest value. 0:12:31.128,0:12:36.648 Same over here, this super high value[br]beam of light, it is so light and bright 0:12:36.648,0:12:41.270 that we start up here and our eye looks[br]down, so we've got value, we also have 0:12:41.270,0:12:45.424 a line here so we're getting a really[br]strong focal point. 0:12:45.424,0:12:49.829 Notice the placement of the main[br]subject, also in that rule of thirds 0:12:49.829,0:12:52.948 it's placed at an interesting kind of[br]dynamic position. 0:12:55.389,0:12:57.831 Okay, let's think about collage for[br]a minute. 0:12:58.337,0:13:01.257 This will be our art historical reference. 0:13:01.473,0:13:05.860 Collage comes from the French word[br]collage, which means 'to glue'. 0:13:05.860,0:13:09.064 So this is a really important word, we're[br]gonna think about how this forms the 0:13:09.064,0:13:15.604 basis of what we will be doing, which is[br]a composite, but the idea and the roots of 0:13:15.604,0:13:17.856 this history are very similar. 0:13:19.240,0:13:22.844 We draw on collage from some really[br]important art movements. 0:13:22.844,0:13:26.698 We have cubism, dada, and surrealism. 0:13:26.698,0:13:32.753 All of these movements were very important [br]art historically because they integrated signs 0:13:32.753,0:13:34.759 and fragments of real things. 0:13:34.759,0:13:39.548 This is one of the first times that this[br]happened in art history, we moved away 0:13:39.548,0:13:45.152 from super realistic painting of religious[br]figures and into using these kind of 0:13:45.152,0:13:50.742 everyday materials to create a very [br]obvious art aesthetic. 0:13:50.742,0:13:55.897 In a collage, you have very obvious edges,[br]and by edges I mean these look like rough 0:13:55.897,0:13:57.632 cut pieces, right? 0:13:57.632,0:14:02.387 They're just glued down pieces of paper,[br]maybe some drawing, maybe some painting. 0:14:02.387,0:14:07.609 This was a mix of high and low art, you're[br]very familiar, we've probably seen a lot 0:14:07.609,0:14:09.160 of these kinds of pieces. 0:14:09.160,0:14:11.563 Picasso is this example here. 0:14:11.563,0:14:17.319 Cubism, you can think about in terms of[br]its sort of fragmented nature. 0:14:17.319,0:14:20.065 We have many, many, many parts. 0:14:20.065,0:14:25.121 Some cubism was just painted, some also[br]has collage where they glued little bits 0:14:25.121,0:14:30.993 of paper in, but either way think of[br]cubism in this sort of multifaceted nature, 0:14:30.993,0:14:35.559 they were really breaking with prior[br]traditions and attempting to show many 0:14:35.559,0:14:38.195 angles at once. 0:14:38.195,0:14:44.634 Cubism was really important because it was[br]a reaction, it was very much against the 0:14:44.634,0:14:48.139 prior tradition of Western art. 0:14:48.139,0:14:52.576 The artists broke out of artistic[br]conventions and they made work that felt 0:14:52.576,0:14:55.612 fitting for their time period. 0:14:56.313,0:14:58.765 This is Braque and Guitar. 0:15:01.202,0:15:03.236 Dada came next. 0:15:03.236,0:15:07.074 In dada artists incorporated a wide array[br]of iconography. 0:15:07.074,0:15:10.575 These are- iconography refers to signs to[br]signs and symbols. 0:15:10.575,0:15:15.682 That was reinterpreted portraits, often[br]they were figures that were sort of 0:15:15.682,0:15:18.568 fantastical, very strange. 0:15:18.568,0:15:23.474 They became a little bit more innovative[br]and used different and more material than 0:15:23.474,0:15:26.459 our surrealists, or than our cubists. 0:15:26.459,0:15:31.614 And again, iconography is really just the[br]study of interpretation of visual images 0:15:31.614,0:15:34.368 and symbols, so signs and symbols. 0:15:34.368,0:15:41.725 Hannah Hoch was a great dada artist, using[br]all magazine bits, cut found material, 0:15:41.725,0:15:49.716 interesting sense of scale in Hannah Hoch's[br]work, interesting combination of elements. 0:15:49.716,0:15:55.339 Very strange, uh, fantastical odd[br]portraits. 0:15:56.254,0:15:59.710 Hannah Hoch is known for saying "there[br]are no limits to the materials available 0:15:59.710,0:16:03.913 for pictorial collages, above all they[br]can be found in photography, but also 0:16:03.913,0:16:08.802 in writing and printed matter even in[br]waste products." 0:16:11.439,0:16:15.960 Here are some more samples of Hannah[br]Hoch pulling and pushing against 0:16:15.960,0:16:19.930 propaganda imagery, things found in[br]newspapers. 0:16:26.370,0:16:30.674 Francis Picabia on the right,[br]incorporating text. 0:16:33.378,0:16:36.345 We similarly --[br]we may not be using magazines 0:16:36.345,0:16:40.617 but we have a wide range of[br]images that we can use 0:16:40.617,0:16:42.438 from the internet. 0:16:43.020,0:16:46.123 Okay, last art movement that[br]we are going to quickly look 0:16:46.123,0:16:47.225 at is surrealism. 0:16:47.225,0:16:51.462 In surrealism, we are talking early [br]1900s, 1920s, 30s. 0:16:51.462,0:16:55.483 Here things are going to get[br]really, really crazy. 0:16:55.483,0:16:58.503 We start thinking a lot[br]more about the subconscious. 0:16:58.503,0:17:01.956 So this is when Freud becomes[br]kind of apparent and, um, 0:17:01.956,0:17:03.513 culturally relevant. 0:17:03.513,0:17:07.601 The artist really tap into[br]this idea of the subconscious. 0:17:07.601,0:17:10.970 They think through, um,[br]what they call the automatic, 0:17:10.970,0:17:15.525 which is sort of letting your brain flow,[br]not editing yourself. 0:17:15.525,0:17:18.685 Psychoanalysis, again,[br]is an area they look into and 0:17:18.685,0:17:21.721 they become really concerned with dreams. 0:17:21.721,0:17:24.574 You can see that playing out[br]in their work. 0:17:24.574,0:17:26.359 So here is Dali. 0:17:28.178,0:17:30.279 Magritte, the double secret. 0:17:30.547,0:17:31.914 So again, they are really[br]concerned with the 0:17:31.914,0:17:35.752 internal experience of the human. 0:17:36.069,0:17:38.136 How does our psychology work? 0:17:38.136,0:17:38.906 Our mind? 0:17:38.906,0:17:41.307 Our subconscious? 0:17:43.142,0:17:45.444 Here is some more Salvador Dali. 0:17:45.877,0:17:49.132 Very strange combination of figues. 0:17:49.132,0:17:51.902 Always thinking about [br]our design principles. 0:17:51.902,0:17:54.615 Look at this horizon, [br]it is in the lower third, 0:17:54.615,0:17:56.884 that is an important rule of thirds. 0:17:56.884,0:18:02.005 This is not centered,[br]it is off to the left. 0:18:02.939,0:18:04.975 Rene Magritte,[br]here is another one. 0:18:04.975,0:18:08.530 Look at the repetition of[br]elements or images. 0:18:08.530,0:18:13.284 We've got a pattern of this man [br]sort of falling through the sky. 0:18:14.218,0:18:18.207 This is something you could very easily[br]achieve in photoshop after this week. 0:18:19.857,0:18:23.445 Okay, so we are going to[br]think about digital composites. 0:18:23.445,0:18:28.264 They have, again, we are sort of[br]pulling on our art historical references 0:18:28.264,0:18:30.583 but we have moved into the digital era. 0:18:30.583,0:18:34.721 How can we achieve some of the[br]same things, and what might that be? 0:18:34.939,0:18:36.438 To what purpose? 0:18:37.023,0:18:40.080 So when we talk about a composite[br]it is really important to note that 0:18:40.080,0:18:43.201 all we are referencing is the[br]combination of two or 0:18:43.201,0:18:46.921 more images together in a[br]seamless manner. 0:18:46.921,0:18:50.792 So we are not necessarily sort of[br]emphasizing those edges like 0:18:50.792,0:18:52.192 they did in collage. 0:18:52.192,0:18:54.925 We're making it look seamless. 0:18:54.925,0:18:58.862 That is the point in a[br]digital composite. 0:18:58.862,0:19:00.231 That is where photoshop will help us. 0:19:00.231,0:19:01.916 So here I've got an image. 0:19:01.916,0:19:07.472 I have taken the fireworks and[br]composited it over this sort of, 0:19:07.472,0:19:11.423 um, mountain star scape[br]to get this. 0:19:11.423,0:19:15.111 Again, seamlessly done so it[br]appears real even if the 0:19:15.111,0:19:19.898 content or the story that it[br]is telling is sort of fantastical. 0:19:21.401,0:19:26.204 We are going to get more and[br]more, um, clever with the 0:19:26.204,0:19:27.791 way that we do our composites. 0:19:27.791,0:19:30.608 We are starting off slow[br]but as our images get more complex, 0:19:30.608,0:19:34.205 your compositing skills [br]will get more complex. 0:19:36.556,0:19:39.059 There are tons of great composites[br]out there that you can look at 0:19:39.059,0:19:40.645 for inspiration. 0:19:40.645,0:19:44.449 Remember, we are always looking[br]to create what appears to be a 0:19:44.449,0:19:49.971 seamless image even if the idea[br]reveals a magical idea or 0:19:49.971,0:19:52.189 a magical truth or [br]some sort of narrative 0:19:52.189,0:19:55.993 that we know is not real[br]but we can believe it 0:19:55.993,0:19:59.739 because it is seamlessly done[br]in photoshop. 0:19:59.739,0:20:01.257 This is Eric Johannson. 0:20:01.257,0:20:03.293 Great photographer, editor. 0:20:03.293,0:20:06.365 You can look up his work,[br]this is just one example. 0:20:06.365,0:20:09.100 I think it is called [br]'Give Me More Time'. 0:20:09.100,0:20:17.509 Carley Shelly, kind of a[br]everyday portrait photographer 0:20:17.509,0:20:21.663 who uses portraits of her [br]subjects to create digital composites 0:20:21.663,0:20:25.601 that fit maybe the characteristics of[br]her clients. 0:20:25.601,0:20:30.439 Chris Crisman. 0:20:31.423,0:20:34.972 Again, we are really thinking about[br]seamless editing to create a new 0:20:34.972,0:20:40.060 scene that is somewhat magical[br]or a new truth. 0:20:43.263,0:20:46.634 And Roland Ong, this one, um,[br]this artist is kind of important 0:20:46.634,0:20:50.037 because when you launch the[br]newest version of photoshop 0:20:50.037,0:20:53.236 and you see this sort of man[br]with a mirror in the clouds, 0:20:53.236,0:20:56.556 that actually was done by this artist. 0:20:56.989,0:20:59.726 So, interesting sort of tension built. 0:20:59.726,0:21:02.361 Again, always looking at the[br]rule of thirds. 0:21:02.361,0:21:06.116 The seamless editing so[br]that these look very real, 0:21:06.116,0:21:10.970 knowing of course that the ocean[br]is not a blanket that could be picked up 0:21:10.970,0:21:14.107 but again, how could we achieve this[br]in photoshop? 0:21:14.107,0:21:16.793 These will be the things that we[br]will be looking towards doing 0:21:16.793,0:21:18.961 for your first assignment.