1 00:00:02,465 --> 00:00:06,068 PROF VAUGHN: Okay, this video tutorial is going to give you some art historical 2 00:00:06,068 --> 00:00:12,074 context for what we're moving into with Photoshop, and also some basic design 3 00:00:12,074 --> 00:00:13,877 principal theories. 4 00:00:13,877 --> 00:00:16,996 So we're going to talk a little bit about composition, compositional strategies, 5 00:00:16,996 --> 00:00:22,435 the history of collage, which is where we're sort of launching off into our digital 6 00:00:22,435 --> 00:00:25,588 collages which we're gonna call composites, so they're very similar but 7 00:00:25,588 --> 00:00:27,605 they have a couple differences. 8 00:00:28,256 --> 00:00:30,493 Let's start off with composition. 9 00:00:30,493 --> 00:00:33,479 When we're talking about composition, we're really trying to answer this 10 00:00:33,479 --> 00:00:36,599 question: where do you place your elements? 11 00:00:36,599 --> 00:00:43,105 We're always thinking about placing our elements within our composition to get at 12 00:00:43,105 --> 00:00:46,927 the most dynamic interesting look possible. 13 00:00:46,927 --> 00:00:51,145 There are some, sort of, standards that we have in design principle. 14 00:00:51,145 --> 00:00:54,415 We have rules, we have compositional rules. 15 00:00:54,415 --> 00:00:57,569 We have the rule of thirds and we have the golden rule. 16 00:00:57,569 --> 00:01:00,158 We have framing and implied lines. 17 00:01:00,158 --> 00:01:04,954 We have background color and atmosphere, and something we call value. 18 00:01:04,954 --> 00:01:09,024 So we're gonna look at these strategies so that you can use them in your own work. 19 00:01:10,459 --> 00:01:15,030 The rule of thirds is a really classic important strategy, typically used in 20 00:01:15,030 --> 00:01:20,118 photography, but we can use it also because we're using images in Photoshop 21 00:01:20,118 --> 00:01:23,607 and we're starting to add and combine different elements. 22 00:01:23,607 --> 00:01:30,479 So, in this rule, we're using an imaginary grid of 9 equal parts, the placement of 23 00:01:30,479 --> 00:01:36,769 your elements at the intersections equals a more interesting placement for the viewer. 24 00:01:36,769 --> 00:01:43,693 Um, so in this you can imagine you have a grid, so I've got 2 vertical lines and 2 25 00:01:43,693 --> 00:01:48,030 horizontal lines drawn in black over these sample images. 26 00:01:48,030 --> 00:01:53,435 Anywhere those lines sort of interact, where they cross over, so right here, 27 00:01:53,435 --> 00:01:59,475 right here, right here, right here, that is the most dynamic placement for any 28 00:01:59,475 --> 00:02:02,344 of your objects or subjects. 29 00:02:02,961 --> 00:02:07,032 So you can see in this photograph, our dog is placed in a really good position. 30 00:02:07,032 --> 00:02:12,656 This vase also, uh, picture, has sort of been placed in the same position. 31 00:02:12,656 --> 00:02:18,444 Any asymmetrical placement is going to create something for your viewers eye 32 00:02:18,444 --> 00:02:19,895 to do. 33 00:02:19,895 --> 00:02:23,852 The viewers eye is going to enter the image plane and give it an opportunity 34 00:02:23,852 --> 00:02:29,513 to travel around the composition, because this is more dynamic, more energetic, 35 00:02:30,023 --> 00:02:32,625 can have a feeling of tension, even. 36 00:02:34,659 --> 00:02:38,964 So these are kind of those power positions where you could imagine placing your 37 00:02:38,964 --> 00:02:44,603 objects, elements, subjects, to create the most dynamic possible position. 38 00:02:46,522 --> 00:02:51,195 Here's another sample, I've got the imaginary, kind of, grid drawn over this. 39 00:02:51,195 --> 00:02:55,265 You can see we've got our subject placed over to the left here. 40 00:02:55,265 --> 00:02:59,551 The eye is starting over here because this is in the foreground, and it is sort of 41 00:02:59,551 --> 00:03:02,639 placed off to the side, so we start here. 42 00:03:02,639 --> 00:03:06,375 We're sort of following the curve of the landscape, similar tonal value, 43 00:03:06,375 --> 00:03:11,399 following it around, and we very quickly, our eye is going to go up to this bright spot, 44 00:03:11,399 --> 00:03:16,522 notice this sort of castle is also at a power position at this intersection, and then 45 00:03:16,522 --> 00:03:21,442 we're going to travel over to this imaginary, sort of like, dragon creature. 46 00:03:21,442 --> 00:03:27,400 So, very dynamic position because the eye is travelling around the composition. 47 00:03:30,134 --> 00:03:33,589 Okay, really important classic, kind of, painting, Edmund Dulac, 48 00:03:33,589 --> 00:03:35,007 this is 'The Little Mermaid.' 49 00:03:35,007 --> 00:03:40,724 Uh, here you can see we have a composition similarly, things are asymmetrical, 50 00:03:40,724 --> 00:03:43,022 they are placed off to the right. 51 00:03:44,091 --> 00:03:49,863 It is not centered, the subject is a little bit lower, the horizon line is up about that 52 00:03:49,863 --> 00:03:54,349 middle third if you imagine the imaginary rule of third grid. 53 00:03:56,052 --> 00:04:01,739 Here gives you a kind of clear picture of, kind of, how these elements are placed. 54 00:04:01,739 --> 00:04:06,480 The imbalance is good here, so remember that, you actually want imbalance in 55 00:04:06,480 --> 00:04:07,780 your composition. 56 00:04:10,033 --> 00:04:15,392 If we compared them, I cropped the one on the right a little bit to make it sort of centered, 57 00:04:15,392 --> 00:04:17,541 the comparison should give you a good idea. 58 00:04:17,541 --> 00:04:21,941 Here, your eye kind of comes in and it travels up and it comes back down. 59 00:04:21,941 --> 00:04:27,216 In this very centered image it sort of just breaks the image plane into 2 parts. 60 00:04:27,216 --> 00:04:29,418 Very boring, very static. 61 00:04:29,418 --> 00:04:33,288 We also have 2 equal parts between the top, because the horizon line is falling in 62 00:04:33,288 --> 00:04:35,757 the middle, and this bottom section. 63 00:04:35,757 --> 00:04:37,976 So it's very very static. 64 00:04:39,862 --> 00:04:42,464 Our second rule is the golden ratio. 65 00:04:42,464 --> 00:04:48,070 This is the Greek mathematical equation, it expresses itself as a spiral. 66 00:04:48,070 --> 00:04:52,006 Many of the most famous pieces of art use this ratio to decide on the placement of 67 00:04:52,006 --> 00:04:57,261 elements, and as a natural way to lead the eye across the image. 68 00:04:57,261 --> 00:05:00,548 This is very popular in, um, architecture as well. 69 00:05:00,548 --> 00:05:05,587 The golden ratio, again, it is a mathematical equation. 70 00:05:05,587 --> 00:05:10,259 Once you know he equation you can use it to determine the placement and the scale 71 00:05:10,259 --> 00:05:11,727 of certain objects. 72 00:05:11,961 --> 00:05:16,832 Here's a very famous piece, you can see how that spiral is being expressed in 73 00:05:16,832 --> 00:05:18,384 the shape of the wave. 74 00:05:20,736 --> 00:05:26,959 Many, uh, very important and classic logos are based on the golden ratio. 75 00:05:26,959 --> 00:05:34,198 So the ratio itself is 1 to 1.618, you can see how these play out in logos that 76 00:05:34,198 --> 00:05:36,134 you're often very familiar with. 77 00:05:36,134 --> 00:05:44,125 So these all are using a ratio of 1 to 1.168: Chevron, Pepsi, all of these logos 78 00:05:44,125 --> 00:05:47,195 using that golden ratio. 79 00:05:47,195 --> 00:05:50,999 The idea behind the golden ratio is that it is a mathematical proportion, 80 00:05:50,999 --> 00:05:55,445 so the ratio itself is often found in nature, think of shells etc, 81 00:05:55,445 --> 00:05:57,353 things you find at the beach. 82 00:05:58,052 --> 00:06:03,741 Um, that idea is sort of, uh, being borrowed by designers to make logos that 83 00:06:03,741 --> 00:06:05,794 feel naturally balanced. 84 00:06:08,698 --> 00:06:15,070 Okay, let's talk about placement of where you can put your things, again, thinking 85 00:06:15,070 --> 00:06:19,407 of the golden ratio, thinking of the rule of thirds, thinking about imbalance, 86 00:06:19,407 --> 00:06:24,876 thinking about proportion, we're going to try and do the most dynamic composition. 87 00:06:24,876 --> 00:06:28,943 if we think about what is the least interesting thing to do in comparison to 88 00:06:28,943 --> 00:06:33,379 those strategies, it is always something like this. 89 00:06:33,713 --> 00:06:39,035 It is putting your main element right smack in the center of your image, 90 00:06:39,035 --> 00:06:40,971 of your composition. 91 00:06:40,971 --> 00:06:45,892 The horizon line directly down the center axis, super boring, avoid this. 92 00:06:45,892 --> 00:06:52,600 We can think about giving our sense of- our composition a sense of space. 93 00:06:52,600 --> 00:06:56,164 When we're thinking of creating a sense of space, remember we're working 2 94 00:06:56,164 --> 00:06:59,986 dimensionally, but we're creating an illusion of depth. 95 00:06:59,986 --> 00:07:04,741 There are several ways to do this, we can use framing elements, put things in the 96 00:07:04,741 --> 00:07:11,096 foreground, angles and implied lines, or atmospheric perspective and value. 97 00:07:12,532 --> 00:07:16,635 Framing, super simple concept, you're thinking about what is on the edges of 98 00:07:16,635 --> 00:07:21,023 your image, left and right, top and bottom. 99 00:07:21,023 --> 00:07:25,112 You can think about it sort of like a vignette, but anytime you have elements 100 00:07:25,112 --> 00:07:29,179 that are used as a frame, your viewer has the inclination to look through 101 00:07:29,179 --> 00:07:35,004 thus these things that they're looking through become kind of a, uh, 102 00:07:35,004 --> 00:07:37,872 highlighted aspect, if you will. 103 00:07:40,159 --> 00:07:43,813 When we're thinking about framing, it's important to just note the following: 104 00:07:43,813 --> 00:07:48,918 foreground, this word means anything sort of in the frontal view right here. 105 00:07:49,501 --> 00:07:53,857 Our midground appears about here in an image, and our background 106 00:07:53,857 --> 00:07:57,878 of course is the farthest away, so it should be back here. 107 00:07:57,878 --> 00:08:01,072 2 dimensional plane, so again it's an illusion of space. 108 00:08:01,072 --> 00:08:03,607 If we were to print this it's actually a flat object. 109 00:08:04,992 --> 00:08:08,912 Here's another example, what could be placed in the foreground to create a 110 00:08:08,912 --> 00:08:10,514 sense of space? 111 00:08:10,514 --> 00:08:14,735 Particularly we know in our brain that this is a small flower, but when placed 112 00:08:14,735 --> 00:08:20,974 bigger in the foreground and we let the background kind of go blurry, we know 113 00:08:20,974 --> 00:08:24,643 that the landscape is actually very dominant, it's huge compared to the 114 00:08:24,643 --> 00:08:28,980 actual scale of the flower, but by giving the flower some prominence in the 115 00:08:28,980 --> 00:08:31,850 foreground, we have a greater sense of space. 116 00:08:34,870 --> 00:08:39,592 Implied line, so implied lines are another design principle that are very important. 117 00:08:39,592 --> 00:08:44,447 And implied line is a broken line that visually we begin to connect together 118 00:08:44,447 --> 00:08:45,915 using our brain. 119 00:08:45,915 --> 00:08:49,754 Your mind is always going to try to connect the dots, creating a 120 00:08:49,754 --> 00:08:51,356 sense of direction. 121 00:08:51,654 --> 00:08:56,527 These are hidden directionals, remember they're not actual lines they're implied 122 00:08:56,527 --> 00:09:00,997 lines, so in this particular instance the implied line is happening with these 123 00:09:00,997 --> 00:09:03,382 concrete spheres. 124 00:09:03,382 --> 00:09:07,871 We start here in the foreground, it's the largest element grabbing our attention, 125 00:09:07,871 --> 00:09:12,693 our mind just sort of visually steps back through the composition. 126 00:09:12,693 --> 00:09:17,598 So we have an implied line that's about a kind of soft arch. 127 00:09:18,249 --> 00:09:22,268 We have actual lines in this image too, we've got a pattern in the sidewalk. 128 00:09:22,268 --> 00:09:25,554 More implied line. 129 00:09:26,655 --> 00:09:31,176 Think about the way perspective can work, you've seen and heard of perspective but 130 00:09:31,176 --> 00:09:34,946 here we have a lot of actual line and implied line. 131 00:09:34,946 --> 00:09:39,236 Implied line happening here, we've got this sort of repeated element dropping 132 00:09:39,236 --> 00:09:43,408 from the foreground into the background, same here. 133 00:09:43,756 --> 00:09:49,580 We have actual line with these sort of concrete, and the lines of the sidewalk, 134 00:09:49,580 --> 00:09:55,469 but a lot of force here, the directional given to your viewers eye is aiming 135 00:09:55,469 --> 00:09:59,239 everything back to this little spot back here. 136 00:09:59,239 --> 00:10:05,175 Implied line is also something that's connected to the gaze. 137 00:10:05,175 --> 00:10:10,532 So when I say the gaze, I'm talking about, um, a human or animal sort of view from 138 00:10:10,532 --> 00:10:12,015 the eyeballs. 139 00:10:12,015 --> 00:10:18,612 Here we have our subject, they are gazing this direction which, as a viewer of this 140 00:10:18,612 --> 00:10:23,904 artwork, I want to know what this person is looking at, so every viewer is going to 141 00:10:23,904 --> 00:10:27,223 follow the gaze, that's an implied line, to this house. 142 00:10:27,223 --> 00:10:31,077 It's coming down with this sort of landscape, coming back over. 143 00:10:31,077 --> 00:10:34,949 Or alternately, it's going up to this house and then kind of swooping 144 00:10:34,949 --> 00:10:36,098 back around. 145 00:10:36,098 --> 00:10:40,237 So gaze is another very very important implied line. 146 00:10:42,540 --> 00:10:44,609 Okay, value and space. 147 00:10:44,609 --> 00:10:50,179 When we talk about value in art, we're talking about the lightness or darkness 148 00:10:50,179 --> 00:10:51,932 of something. 149 00:10:51,932 --> 00:10:56,050 When we talk about space, again, 2 dimensional but we're thinking about 150 00:10:56,050 --> 00:10:59,522 creating an illusion of distance. 151 00:10:59,807 --> 00:11:05,376 So value, importantly, has the ability to create atmospheric perspective. 152 00:11:05,376 --> 00:11:12,567 Again, in this image we're getting a sense of space of a distant landscape because 153 00:11:12,567 --> 00:11:17,491 this mountainscape is getting, um, sort of a gradation effect. 154 00:11:17,491 --> 00:11:21,378 We start from dark, medium, light, even lighter. 155 00:11:21,378 --> 00:11:24,759 So this atmospheric perspective works a lot like fog. 156 00:11:25,425 --> 00:11:30,414 You can think about how things feel very far away when they're foggy. 157 00:11:31,814 --> 00:11:38,048 Here's another example, if you have a weak atmosphere over here, you have 158 00:11:38,048 --> 00:11:40,384 a certain sense of space. 159 00:11:40,384 --> 00:11:45,441 A stronger atmosphere, over here, and it changes the way things feel 160 00:11:45,441 --> 00:11:46,874 in the distance. 161 00:11:50,528 --> 00:11:55,732 Okay, value can be really really powerful, you can use it to emphasize certain things. 162 00:11:55,732 --> 00:12:01,349 You very, very, very much can create these sort of bright sports or areas of high 163 00:12:01,349 --> 00:12:06,807 contrast that will always draw your viewers eye first. 164 00:12:06,807 --> 00:12:10,458 So areas of brightness are very attractive to the eyeball, we're gonna look right 165 00:12:10,458 --> 00:12:15,582 here and we're gonna look right here, especially because this is so dark 166 00:12:15,582 --> 00:12:18,885 on something that is so bright. 167 00:12:18,885 --> 00:12:24,573 More examples, so these are all focal points, your eye can't not look here 168 00:12:24,573 --> 00:12:26,242 at this egg. 169 00:12:26,242 --> 00:12:31,128 The focal point is here because it is the brightest, the highest value. 170 00:12:31,128 --> 00:12:36,648 Same over here, this super high value beam of light, it is so light and bright 171 00:12:36,648 --> 00:12:41,270 that we start up here and our eye looks down, so we've got value, we also have 172 00:12:41,270 --> 00:12:45,424 a line here so we're getting a really strong focal point. 173 00:12:45,424 --> 00:12:49,829 Notice the placement of the main subject, also in that rule of thirds 174 00:12:49,829 --> 00:12:52,948 it's placed at an interesting kind of dynamic position. 175 00:12:55,389 --> 00:12:57,831 Okay, let's think about collage for a minute. 176 00:12:58,337 --> 00:13:01,257 This will be our art historical reference. 177 00:13:01,473 --> 00:13:05,860 Collage comes from the French word collage, which means 'to glue'. 178 00:13:05,860 --> 00:13:09,064 So this is a really important word, we're gonna think about how this forms the 179 00:13:09,064 --> 00:13:15,604 basis of what we will be doing, which is a composite, but the idea and the roots of 180 00:13:15,604 --> 00:13:17,856 this history are very similar. 181 00:13:19,240 --> 00:13:22,844 We draw on collage from some really important art movements. 182 00:13:22,844 --> 00:13:26,698 We have cubism, dada, and surrealism. 183 00:13:26,698 --> 00:13:32,753 All of these movements were very important art historically because they integrated signs 184 00:13:32,753 --> 00:13:34,759 and fragments of real things. 185 00:13:34,759 --> 00:13:39,548 This is one of the first times that this happened in art history, we moved away 186 00:13:39,548 --> 00:13:45,152 from super realistic painting of religious figures and into using these kind of 187 00:13:45,152 --> 00:13:50,742 everyday materials to create a very obvious art aesthetic. 188 00:13:50,742 --> 00:13:55,897 In a collage, you have very obvious edges, and by edges I mean these look like rough 189 00:13:55,897 --> 00:13:57,632 cut pieces, right? 190 00:13:57,632 --> 00:14:02,387 They're just glued down pieces of paper, maybe some drawing, maybe some painting. 191 00:14:02,387 --> 00:14:07,609 This was a mix of high and low art, you're very familiar, we've probably seen a lot 192 00:14:07,609 --> 00:14:09,160 of these kinds of pieces. 193 00:14:09,160 --> 00:14:11,563 Picasso is this example here. 194 00:14:11,563 --> 00:14:17,319 Cubism, you can think about in terms of its sort of fragmented nature. 195 00:14:17,319 --> 00:14:20,065 We have many, many, many parts. 196 00:14:20,065 --> 00:14:25,121 Some cubism was just painted, some also has collage where they glued little bits 197 00:14:25,121 --> 00:14:30,993 of paper in, but either way think of cubism in this sort of multifaceted nature, 198 00:14:30,993 --> 00:14:35,559 they were really breaking with prior traditions and attempting to show many 199 00:14:35,559 --> 00:14:38,195 angles at once. 200 00:14:38,195 --> 00:14:44,634 Cubism was really important because it was a reaction, it was very much against the 201 00:14:44,634 --> 00:14:48,139 prior tradition of Western art. 202 00:14:48,139 --> 00:14:52,576 The artists broke out of artistic conventions and they made work that felt 203 00:14:52,576 --> 00:14:55,612 fitting for their time period. 204 00:14:56,313 --> 00:14:58,765 This is Braque and Guitar. 205 00:15:01,202 --> 00:15:03,236 Dada came next. 206 00:15:03,236 --> 00:15:07,074 In dada artists incorporated a wide array of iconography. 207 00:15:07,074 --> 00:15:10,575 These are- iconography refers to signs to signs and symbols. 208 00:15:10,575 --> 00:15:15,682 That was reinterpreted portraits, often they were figures that were sort of 209 00:15:15,682 --> 00:15:18,568 fantastical, very strange. 210 00:15:18,568 --> 00:15:23,474 They became a little bit more innovative and used different and more material than 211 00:15:23,474 --> 00:15:26,459 our surrealists, or than our cubists. 212 00:15:26,459 --> 00:15:31,614 And again, iconography is really just the study of interpretation of visual images 213 00:15:31,614 --> 00:15:34,368 and symbols, so signs and symbols. 214 00:15:34,368 --> 00:15:41,725 Hannah Hoch was a great dada artist, using all magazine bits, cut found material, 215 00:15:41,725 --> 00:15:49,716 interesting sense of scale in Hannah Hoch's work, interesting combination of elements. 216 00:15:49,716 --> 00:15:55,339 Very strange, uh, fantastical odd portraits. 217 00:15:56,254 --> 00:15:59,710 Hannah Hoch is known for saying "there are no limits to the materials available 218 00:15:59,710 --> 00:16:03,913 for pictorial collages, above all they can be found in photography, but also 219 00:16:03,913 --> 00:16:08,802 in writing and printed matter even in waste products." 220 00:16:11,439 --> 00:16:15,960 Here are some more samples of Hannah Hoch pulling and pushing against 221 00:16:15,960 --> 00:16:19,930 propaganda imagery, things found in newspapers. 222 00:16:26,370 --> 00:16:30,674 Francis Picabia on the right, incorporating text. 223 00:16:33,378 --> 00:16:36,345 We similarly -- we may not be using magazines 224 00:16:36,345 --> 00:16:40,617 but we have a wide range of images that we can use 225 00:16:40,617 --> 00:16:42,438 from the internet. 226 00:16:43,020 --> 00:16:46,123 Okay, last art movement that we are going to quickly look 227 00:16:46,123 --> 00:16:47,225 at is surrealism. 228 00:16:47,225 --> 00:16:51,462 In surrealism, we are talking early 1900s, 1920s, 30s. 229 00:16:51,462 --> 00:16:55,483 Here things are going to get really, really crazy. 230 00:16:55,483 --> 00:16:58,503 We start thinking a lot more about the subconscious. 231 00:16:58,503 --> 00:17:01,956 So this is when Freud becomes kind of apparent and, um, 232 00:17:01,956 --> 00:17:03,513 culturally relevant. 233 00:17:03,513 --> 00:17:07,601 The artist really tap into this idea of the subconscious. 234 00:17:07,601 --> 00:17:10,970 They think through, um, what they call the automatic, 235 00:17:10,970 --> 00:17:15,525 which is sort of letting your brain flow, not editing yourself. 236 00:17:15,525 --> 00:17:18,685 Psychoanalysis, again, is an area they look into and 237 00:17:18,685 --> 00:17:21,721 they become really concerned with dreams. 238 00:17:21,721 --> 00:17:24,574 You can see that playing out in their work. 239 00:17:24,574 --> 00:17:26,359 So here is Dali. 240 00:17:28,178 --> 00:17:30,279 Magritte, the double secret. 241 00:17:30,547 --> 00:17:31,914 So again, they are really concerned with the 242 00:17:31,914 --> 00:17:35,752 internal experience of the human. 243 00:17:36,069 --> 00:17:38,136 How does our psychology work? 244 00:17:38,136 --> 00:17:38,906 Our mind? 245 00:17:38,906 --> 00:17:41,307 Our subconscious? 246 00:17:43,142 --> 00:17:45,444 Here is some more Salvador Dali. 247 00:17:45,877 --> 00:17:49,132 Very strange combination of figues. 248 00:17:49,132 --> 00:17:51,902 Always thinking about our design principles. 249 00:17:51,902 --> 00:17:54,615 Look at this horizon, it is in the lower third, 250 00:17:54,615 --> 00:17:56,884 that is an important rule of thirds. 251 00:17:56,884 --> 00:18:02,005 This is not centered, it is off to the left. 252 00:18:02,939 --> 00:18:04,975 Rene Magritte, here is another one. 253 00:18:04,975 --> 00:18:08,530 Look at the repetition of elements or images. 254 00:18:08,530 --> 00:18:13,284 We've got a pattern of this man sort of falling through the sky. 255 00:18:14,218 --> 00:18:18,207 This is something you could very easily achieve in photoshop after this week. 256 00:18:19,857 --> 00:18:23,445 Okay, so we are going to think about digital composites. 257 00:18:23,445 --> 00:18:28,264 They have, again, we are sort of pulling on our art historical references 258 00:18:28,264 --> 00:18:30,583 but we have moved into the digital era. 259 00:18:30,583 --> 00:18:34,721 How can we achieve some of the same things, and what might that be? 260 00:18:34,939 --> 00:18:36,438 To what purpose? 261 00:18:37,023 --> 00:18:40,080 So when we talk about a composite it is really important to note that 262 00:18:40,080 --> 00:18:43,201 all we are referencing is the combination of two or 263 00:18:43,201 --> 00:18:46,921 more images together in a seamless manner. 264 00:18:46,921 --> 00:18:50,792 So we are not necessarily sort of emphasizing those edges like 265 00:18:50,792 --> 00:18:52,192 they did in collage. 266 00:18:52,192 --> 00:18:54,925 We're making it look seamless. 267 00:18:54,925 --> 00:18:58,862 That is the point in a digital composite. 268 00:18:58,862 --> 00:19:00,231 That is where photoshop will help us. 269 00:19:00,231 --> 00:19:01,916 So here I've got an image. 270 00:19:01,916 --> 00:19:07,472 I have taken the fireworks and composited it over this sort of, 271 00:19:07,472 --> 00:19:11,423 um, mountain star scape to get this. 272 00:19:11,423 --> 00:19:15,111 Again, seamlessly done so it appears real even if the 273 00:19:15,111 --> 00:19:19,898 content or the story that it is telling is sort of fantastical. 274 00:19:21,401 --> 00:19:26,204 We are going to get more and more, um, clever with the 275 00:19:26,204 --> 00:19:27,791 way that we do our composites. 276 00:19:27,791 --> 00:19:30,608 We are starting off slow but as our images get more complex, 277 00:19:30,608 --> 00:19:34,205 your compositing skills will get more complex. 278 00:19:36,556 --> 00:19:39,059 There are tons of great composites out there that you can look at 279 00:19:39,059 --> 00:19:40,645 for inspiration. 280 00:19:40,645 --> 00:19:44,449 Remember, we are always looking to create what appears to be a 281 00:19:44,449 --> 00:19:49,971 seamless image even if the idea reveals a magical idea or 282 00:19:49,971 --> 00:19:52,189 a magical truth or some sort of narrative 283 00:19:52,189 --> 00:19:55,993 that we know is not real but we can believe it 284 00:19:55,993 --> 00:19:59,739 because it is seamlessly done in photoshop. 285 00:19:59,739 --> 00:20:01,257 This is Eric Johannson. 286 00:20:01,257 --> 00:20:03,293 Great photographer, editor. 287 00:20:03,293 --> 00:20:06,365 You can look up his work, this is just one example. 288 00:20:06,365 --> 00:20:09,100 I think it is called 'Give Me More Time'. 289 00:20:09,100 --> 00:20:17,509 Carley Shelly, kind of a everyday portrait photographer 290 00:20:17,509 --> 00:20:21,663 who uses portraits of her subjects to create digital composites 291 00:20:21,663 --> 00:20:25,601 that fit maybe the characteristics of her clients. 292 00:20:25,601 --> 00:20:30,439 Chris Crisman. 293 00:20:31,423 --> 00:20:34,972 Again, we are really thinking about seamless editing to create a new 294 00:20:34,972 --> 00:20:40,060 scene that is somewhat magical or a new truth. 295 00:20:43,263 --> 00:20:46,634 And Roland Ong, this one, um, this artist is kind of important 296 00:20:46,634 --> 00:20:50,037 because when you launch the newest version of photoshop 297 00:20:50,037 --> 00:20:53,236 and you see this sort of man with a mirror in the clouds, 298 00:20:53,236 --> 00:20:56,556 that actually was done by this artist. 299 00:20:56,989 --> 00:20:59,726 So, interesting sort of tension built. 300 00:20:59,726 --> 00:21:02,361 Again, always looking at the rule of thirds. 301 00:21:02,361 --> 00:21:06,116 The seamless editing so that these look very real, 302 00:21:06,116 --> 00:21:10,970 knowing of course that the ocean is not a blanket that could be picked up 303 00:21:10,970 --> 00:21:14,107 but again, how could we achieve this in photoshop? 304 00:21:14,107 --> 00:21:16,793 These will be the things that we will be looking towards doing 305 00:21:16,793 --> 00:21:18,961 for your first assignment.