[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:02.46,0:00:06.07,Default,,0000,0000,0000,,PROF VAUGHN: Okay, this video tutorial is\Ngoing to give you some art historical
Dialogue: 0,0:00:06.07,0:00:12.07,Default,,0000,0000,0000,,context for what we're moving into with\NPhotoshop, and also some basic design
Dialogue: 0,0:00:12.07,0:00:13.88,Default,,0000,0000,0000,,principal theories.
Dialogue: 0,0:00:13.88,0:00:16.100,Default,,0000,0000,0000,,So we're going to talk a little bit about\Ncomposition, compositional strategies,
Dialogue: 0,0:00:16.100,0:00:22.44,Default,,0000,0000,0000,,the history of collage, which is where we're\Nsort of launching off into our digital
Dialogue: 0,0:00:22.44,0:00:25.59,Default,,0000,0000,0000,,collages which we're gonna call\Ncomposites, so they're very similar but
Dialogue: 0,0:00:25.59,0:00:27.60,Default,,0000,0000,0000,,they have a couple differences.
Dialogue: 0,0:00:28.26,0:00:30.49,Default,,0000,0000,0000,,Let's start off with composition.
Dialogue: 0,0:00:30.49,0:00:33.48,Default,,0000,0000,0000,,When we're talking about composition,\Nwe're really trying to answer this
Dialogue: 0,0:00:33.48,0:00:36.60,Default,,0000,0000,0000,,question: where do you place your\Nelements?
Dialogue: 0,0:00:36.60,0:00:43.10,Default,,0000,0000,0000,,We're always thinking about placing our\Nelements within our composition to get at
Dialogue: 0,0:00:43.10,0:00:46.93,Default,,0000,0000,0000,,the most dynamic interesting look\Npossible.
Dialogue: 0,0:00:46.93,0:00:51.14,Default,,0000,0000,0000,,There are some, sort of, standards that we\Nhave in design principle.
Dialogue: 0,0:00:51.14,0:00:54.42,Default,,0000,0000,0000,,We have rules, we have compositional\Nrules.
Dialogue: 0,0:00:54.42,0:00:57.57,Default,,0000,0000,0000,,We have the rule of thirds and we have the\Ngolden rule.
Dialogue: 0,0:00:57.57,0:01:00.16,Default,,0000,0000,0000,,We have framing and implied lines.
Dialogue: 0,0:01:00.16,0:01:04.95,Default,,0000,0000,0000,,We have background color and\Natmosphere, and something we call value.
Dialogue: 0,0:01:04.95,0:01:09.02,Default,,0000,0000,0000,,So we're gonna look at these strategies so\Nthat you can use them in your own work.
Dialogue: 0,0:01:10.46,0:01:15.03,Default,,0000,0000,0000,,The rule of thirds is a really classic\Nimportant strategy, typically used in
Dialogue: 0,0:01:15.03,0:01:20.12,Default,,0000,0000,0000,,photography, but we can use it also\Nbecause we're using images in Photoshop
Dialogue: 0,0:01:20.12,0:01:23.61,Default,,0000,0000,0000,,and we're starting to add and combine \Ndifferent elements.
Dialogue: 0,0:01:23.61,0:01:30.48,Default,,0000,0000,0000,,So, in this rule, we're using an imaginary\Ngrid of 9 equal parts, the placement of
Dialogue: 0,0:01:30.48,0:01:36.77,Default,,0000,0000,0000,,your elements at the intersections equals\Na more interesting placement for the viewer.
Dialogue: 0,0:01:36.77,0:01:43.69,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: 0,0:01:43.69,0:01:48.03,Default,,0000,0000,0000,,horizontal lines drawn in black over\Nthese sample images.
Dialogue: 0,0:01:48.03,0:01:53.44,Default,,0000,0000,0000,,Anywhere those lines sort of interact,\Nwhere they cross over, so right here,
Dialogue: 0,0:01:53.44,0:01:59.48,Default,,0000,0000,0000,,right here, right here, right here, that is\Nthe most dynamic placement for any
Dialogue: 0,0:01:59.48,0:02:02.34,Default,,0000,0000,0000,,of your objects or subjects.
Dialogue: 0,0:02:02.96,0:02:07.03,Default,,0000,0000,0000,,So you can see in this photograph, our\Ndog is placed in a really good position.
Dialogue: 0,0:02:07.03,0:02:12.66,Default,,0000,0000,0000,,This vase also, uh, picture, has sort of\Nbeen placed in the same position.
Dialogue: 0,0:02:12.66,0:02:18.44,Default,,0000,0000,0000,,Any asymmetrical placement is going to\Ncreate something for your viewers eye
Dialogue: 0,0:02:18.44,0:02:19.90,Default,,0000,0000,0000,,to do.
Dialogue: 0,0:02:19.90,0:02:23.85,Default,,0000,0000,0000,,The viewers eye is going to enter the\Nimage plane and give it an opportunity
Dialogue: 0,0:02:23.85,0:02:29.51,Default,,0000,0000,0000,,to travel around the composition, because\Nthis is more dynamic, more energetic,
Dialogue: 0,0:02:30.02,0:02:32.62,Default,,0000,0000,0000,,can have a feeling of tension, even.
Dialogue: 0,0:02:34.66,0:02:38.96,Default,,0000,0000,0000,,So these are kind of those power positions\Nwhere you could imagine placing your
Dialogue: 0,0:02:38.96,0:02:44.60,Default,,0000,0000,0000,,objects, elements, subjects, to create the\Nmost dynamic possible position.
Dialogue: 0,0:02:46.52,0:02:51.20,Default,,0000,0000,0000,,Here's another sample, I've got the\Nimaginary, kind of, grid drawn over this.
Dialogue: 0,0:02:51.20,0:02:55.26,Default,,0000,0000,0000,,You can see we've got our subject placed\Nover to the left here.
Dialogue: 0,0:02:55.26,0:02:59.55,Default,,0000,0000,0000,,The eye is starting over here because this\Nis in the foreground, and it is sort of
Dialogue: 0,0:02:59.55,0:03:02.64,Default,,0000,0000,0000,,placed off to the side, so we start here.
Dialogue: 0,0:03:02.64,0:03:06.38,Default,,0000,0000,0000,,We're sort of following the curve of the\Nlandscape, similar tonal value,
Dialogue: 0,0:03:06.38,0:03:11.40,Default,,0000,0000,0000,,following it around, and we very quickly, our eye\Nis going to go up to this bright spot,
Dialogue: 0,0:03:11.40,0:03:16.52,Default,,0000,0000,0000,,notice this sort of castle is also at a \Npower position at this intersection, and then
Dialogue: 0,0:03:16.52,0:03:21.44,Default,,0000,0000,0000,,we're going to travel over to this\Nimaginary, sort of like, dragon creature.
Dialogue: 0,0:03:21.44,0:03:27.40,Default,,0000,0000,0000,,So, very dynamic position because the eye\Nis travelling around the composition.
Dialogue: 0,0:03:30.13,0:03:33.59,Default,,0000,0000,0000,,Okay, really important classic, kind of,\Npainting, Edmund Dulac,
Dialogue: 0,0:03:33.59,0:03:35.01,Default,,0000,0000,0000,,this is 'The Little Mermaid.'
Dialogue: 0,0:03:35.01,0:03:40.72,Default,,0000,0000,0000,,Uh, here you can see we have a composition\Nsimilarly, things are asymmetrical,
Dialogue: 0,0:03:40.72,0:03:43.02,Default,,0000,0000,0000,,they are placed off to the right.
Dialogue: 0,0:03:44.09,0:03:49.86,Default,,0000,0000,0000,,It is not centered, the subject is a little bit\Nlower, the horizon line is up about that
Dialogue: 0,0:03:49.86,0:03:54.35,Default,,0000,0000,0000,,middle third if you imagine the imaginary\Nrule of third grid.
Dialogue: 0,0:03:56.05,0:04:01.74,Default,,0000,0000,0000,,Here gives you a kind of clear picture of,\Nkind of, how these elements are placed.
Dialogue: 0,0:04:01.74,0:04:06.48,Default,,0000,0000,0000,,The imbalance is good here, so remember\Nthat, you actually want imbalance in
Dialogue: 0,0:04:06.48,0:04:07.78,Default,,0000,0000,0000,,your composition.
Dialogue: 0,0:04:10.03,0:04:15.39,Default,,0000,0000,0000,,If we compared them, I cropped the one on\Nthe right a little bit to make it sort of centered,
Dialogue: 0,0:04:15.39,0:04:17.54,Default,,0000,0000,0000,,the comparison should give\Nyou a good idea.
Dialogue: 0,0:04:17.54,0:04:21.94,Default,,0000,0000,0000,,Here, your eye kind of comes in and it\Ntravels up and it comes back down.
Dialogue: 0,0:04:21.94,0:04:27.22,Default,,0000,0000,0000,,In this very centered image it sort of just\Nbreaks the image plane into 2 parts.
Dialogue: 0,0:04:27.22,0:04:29.42,Default,,0000,0000,0000,,Very boring, very static.
Dialogue: 0,0:04:29.42,0:04:33.29,Default,,0000,0000,0000,,We also have 2 equal parts between the\Ntop, because the horizon line is falling in
Dialogue: 0,0:04:33.29,0:04:35.76,Default,,0000,0000,0000,,the middle, and this bottom section.
Dialogue: 0,0:04:35.76,0:04:37.98,Default,,0000,0000,0000,,So it's very very static.
Dialogue: 0,0:04:39.86,0:04:42.46,Default,,0000,0000,0000,,Our second rule is the golden ratio.
Dialogue: 0,0:04:42.46,0:04:48.07,Default,,0000,0000,0000,,This is the Greek mathematical equation,\Nit expresses itself as a spiral.
Dialogue: 0,0:04:48.07,0:04:52.01,Default,,0000,0000,0000,,Many of the most famous pieces of art use\Nthis ratio to decide on the placement of
Dialogue: 0,0:04:52.01,0:04:57.26,Default,,0000,0000,0000,,elements, and as a natural way to lead the\Neye across the image.
Dialogue: 0,0:04:57.26,0:05:00.55,Default,,0000,0000,0000,,This is very popular in, um, architecture\Nas well.
Dialogue: 0,0:05:00.55,0:05:05.59,Default,,0000,0000,0000,,The golden ratio, again, it is a\Nmathematical equation.
Dialogue: 0,0:05:05.59,0:05:10.26,Default,,0000,0000,0000,,Once you know he equation you can use it\Nto determine the placement and the scale
Dialogue: 0,0:05:10.26,0:05:11.73,Default,,0000,0000,0000,,of certain objects.
Dialogue: 0,0:05:11.96,0:05:16.83,Default,,0000,0000,0000,,Here's a very famous piece, you can see\Nhow that spiral is being expressed in
Dialogue: 0,0:05:16.83,0:05:18.38,Default,,0000,0000,0000,,the shape of the wave.
Dialogue: 0,0:05:20.74,0:05:26.96,Default,,0000,0000,0000,,Many, uh, very important and classic\Nlogos are based on the golden ratio.
Dialogue: 0,0:05:26.96,0:05:34.20,Default,,0000,0000,0000,,So the ratio itself is 1 to 1.618, you can\Nsee how these play out in logos that
Dialogue: 0,0:05:34.20,0:05:36.13,Default,,0000,0000,0000,,you're often very familiar with.
Dialogue: 0,0:05:36.13,0:05:44.12,Default,,0000,0000,0000,,So these all are using a ratio of 1 to\N1.168: Chevron, Pepsi, all of these logos
Dialogue: 0,0:05:44.12,0:05:47.20,Default,,0000,0000,0000,,using that golden ratio.
Dialogue: 0,0:05:47.20,0:05:50.100,Default,,0000,0000,0000,,The idea behind the golden ratio is\Nthat it is a mathematical proportion,
Dialogue: 0,0:05:50.100,0:05:55.44,Default,,0000,0000,0000,,so the ratio itself is often found in nature,\Nthink of shells etc,
Dialogue: 0,0:05:55.44,0:05:57.35,Default,,0000,0000,0000,,things you find at the beach.
Dialogue: 0,0:05:58.05,0:06:03.74,Default,,0000,0000,0000,,Um, that idea is sort of, uh, being \Nborrowed by designers to make logos that
Dialogue: 0,0:06:03.74,0:06:05.79,Default,,0000,0000,0000,,feel naturally balanced.
Dialogue: 0,0:06:08.70,0:06:15.07,Default,,0000,0000,0000,,Okay, let's talk about placement of where\Nyou can put your things, again, thinking
Dialogue: 0,0:06:15.07,0:06:19.41,Default,,0000,0000,0000,,of the golden ratio, thinking of the rule\Nof thirds, thinking about imbalance,
Dialogue: 0,0:06:19.41,0:06:24.88,Default,,0000,0000,0000,,thinking about proportion, we're going to\Ntry and do the most dynamic composition.
Dialogue: 0,0:06:24.88,0:06:28.94,Default,,0000,0000,0000,,if we think about what is the least\Ninteresting thing to do in comparison to
Dialogue: 0,0:06:28.94,0:06:33.38,Default,,0000,0000,0000,,those strategies, it is always something\Nlike this.
Dialogue: 0,0:06:33.71,0:06:39.04,Default,,0000,0000,0000,,It is putting your main element right\Nsmack in the center of your image,
Dialogue: 0,0:06:39.04,0:06:40.97,Default,,0000,0000,0000,,of your composition.
Dialogue: 0,0:06:40.97,0:06:45.89,Default,,0000,0000,0000,,The horizon line directly down the center\Naxis, super boring, avoid this.
Dialogue: 0,0:06:45.89,0:06:52.60,Default,,0000,0000,0000,,We can think about giving our sense of-\Nour composition a sense of space.
Dialogue: 0,0:06:52.60,0:06:56.16,Default,,0000,0000,0000,,When we're thinking of creating a sense of\Nspace, remember we're working 2
Dialogue: 0,0:06:56.16,0:06:59.99,Default,,0000,0000,0000,,dimensionally, but we're creating an\Nillusion of depth.
Dialogue: 0,0:06:59.99,0:07:04.74,Default,,0000,0000,0000,,There are several ways to do this, we can\Nuse framing elements, put things in the
Dialogue: 0,0:07:04.74,0:07:11.10,Default,,0000,0000,0000,,foreground, angles and implied lines, or\Natmospheric perspective and value.
Dialogue: 0,0:07:12.53,0:07:16.64,Default,,0000,0000,0000,,Framing, super simple concept, you're\Nthinking about what is on the edges of
Dialogue: 0,0:07:16.64,0:07:21.02,Default,,0000,0000,0000,,your image, left and right, top and\Nbottom.
Dialogue: 0,0:07:21.02,0:07:25.11,Default,,0000,0000,0000,,You can think about it sort of like a \Nvignette, but anytime you have elements
Dialogue: 0,0:07:25.11,0:07:29.18,Default,,0000,0000,0000,,that are used as a frame, your viewer\Nhas the inclination to look through
Dialogue: 0,0:07:29.18,0:07:35.00,Default,,0000,0000,0000,,thus these things that they're looking\Nthrough become kind of a, uh,
Dialogue: 0,0:07:35.00,0:07:37.87,Default,,0000,0000,0000,,highlighted aspect, if you will.
Dialogue: 0,0:07:40.16,0:07:43.81,Default,,0000,0000,0000,,When we're thinking about framing, it's\Nimportant to just note the following:
Dialogue: 0,0:07:43.81,0:07:48.92,Default,,0000,0000,0000,,foreground, this word means anything\Nsort of in the frontal view right here.
Dialogue: 0,0:07:49.50,0:07:53.86,Default,,0000,0000,0000,,Our midground appears about here\Nin an image, and our background
Dialogue: 0,0:07:53.86,0:07:57.88,Default,,0000,0000,0000,,of course is the farthest away, so it\Nshould be back here.
Dialogue: 0,0:07:57.88,0:08:01.07,Default,,0000,0000,0000,,2 dimensional plane, so again it's an\Nillusion of space.
Dialogue: 0,0:08:01.07,0:08:03.61,Default,,0000,0000,0000,,If we were to print this it's actually a\Nflat object.
Dialogue: 0,0:08:04.99,0:08:08.91,Default,,0000,0000,0000,,Here's another example, what could be\Nplaced in the foreground to create a
Dialogue: 0,0:08:08.91,0:08:10.51,Default,,0000,0000,0000,,sense of space?
Dialogue: 0,0:08:10.51,0:08:14.74,Default,,0000,0000,0000,,Particularly we know in our brain that\Nthis is a small flower, but when placed
Dialogue: 0,0:08:14.74,0:08:20.97,Default,,0000,0000,0000,,bigger in the foreground and we let\Nthe background kind of go blurry, we know
Dialogue: 0,0:08:20.97,0:08:24.64,Default,,0000,0000,0000,,that the landscape is actually very\Ndominant, it's huge compared to the
Dialogue: 0,0:08:24.64,0:08:28.98,Default,,0000,0000,0000,,actual scale of the flower, but by giving\Nthe flower some prominence in the
Dialogue: 0,0:08:28.98,0:08:31.85,Default,,0000,0000,0000,,foreground, we have a greater sense of\Nspace.
Dialogue: 0,0:08:34.87,0:08:39.59,Default,,0000,0000,0000,,Implied line, so implied lines are another\Ndesign principle that are very important.
Dialogue: 0,0:08:39.59,0:08:44.45,Default,,0000,0000,0000,,And implied line is a broken line that\Nvisually we begin to connect together
Dialogue: 0,0:08:44.45,0:08:45.92,Default,,0000,0000,0000,,using our brain.
Dialogue: 0,0:08:45.92,0:08:49.75,Default,,0000,0000,0000,,Your mind is always going to try to\Nconnect the dots, creating a
Dialogue: 0,0:08:49.75,0:08:51.36,Default,,0000,0000,0000,,sense of direction.
Dialogue: 0,0:08:51.65,0:08:56.53,Default,,0000,0000,0000,,These are hidden directionals, remember\Nthey're not actual lines they're implied
Dialogue: 0,0:08:56.53,0:09:00.100,Default,,0000,0000,0000,,lines, so in this particular instance the\Nimplied line is happening with these
Dialogue: 0,0:09:00.100,0:09:03.38,Default,,0000,0000,0000,,concrete spheres.
Dialogue: 0,0:09:03.38,0:09:07.87,Default,,0000,0000,0000,,We start here in the foreground, it's the\Nlargest element grabbing our attention,
Dialogue: 0,0:09:07.87,0:09:12.69,Default,,0000,0000,0000,,our mind just sort of visually steps back\Nthrough the composition.
Dialogue: 0,0:09:12.69,0:09:17.60,Default,,0000,0000,0000,,So we have an implied line that's about a \Nkind of soft arch.
Dialogue: 0,0:09:18.25,0:09:22.27,Default,,0000,0000,0000,,We have actual lines in this image too,\Nwe've got a pattern in the sidewalk.
Dialogue: 0,0:09:22.27,0:09:25.55,Default,,0000,0000,0000,,More implied line.
Dialogue: 0,0:09:26.66,0:09:31.18,Default,,0000,0000,0000,,Think about the way perspective can work,\Nyou've seen and heard of perspective but
Dialogue: 0,0:09:31.18,0:09:34.95,Default,,0000,0000,0000,,here we have a lot of actual line and \Nimplied line.
Dialogue: 0,0:09:34.95,0:09:39.24,Default,,0000,0000,0000,,Implied line happening here, we've got\Nthis sort of repeated element dropping
Dialogue: 0,0:09:39.24,0:09:43.41,Default,,0000,0000,0000,,from the foreground into the background,\Nsame here.
Dialogue: 0,0:09:43.76,0:09:49.58,Default,,0000,0000,0000,,We have actual line with these sort of\Nconcrete, and the lines of the sidewalk,
Dialogue: 0,0:09:49.58,0:09:55.47,Default,,0000,0000,0000,,but a lot of force here, the directional\Ngiven to your viewers eye is aiming
Dialogue: 0,0:09:55.47,0:09:59.24,Default,,0000,0000,0000,,everything back to this little \Nspot back here.
Dialogue: 0,0:09:59.24,0:10:05.18,Default,,0000,0000,0000,,Implied line is also something that's\Nconnected to the gaze.
Dialogue: 0,0:10:05.18,0:10:10.53,Default,,0000,0000,0000,,So when I say the gaze, I'm talking about,\Num, a human or animal sort of view from
Dialogue: 0,0:10:10.53,0:10:12.02,Default,,0000,0000,0000,,the eyeballs.
Dialogue: 0,0:10:12.02,0:10:18.61,Default,,0000,0000,0000,,Here we have our subject, they are gazing\Nthis direction which, as a viewer of this
Dialogue: 0,0:10:18.61,0:10:23.90,Default,,0000,0000,0000,,artwork, I want to know what this person is\Nlooking at, so every viewer is going to
Dialogue: 0,0:10:23.90,0:10:27.22,Default,,0000,0000,0000,,follow the gaze, that's an implied line,\Nto this house.
Dialogue: 0,0:10:27.22,0:10:31.08,Default,,0000,0000,0000,,It's coming down with this sort of\Nlandscape, coming back over.
Dialogue: 0,0:10:31.08,0:10:34.95,Default,,0000,0000,0000,,Or alternately, it's going up to this\Nhouse and then kind of swooping
Dialogue: 0,0:10:34.95,0:10:36.10,Default,,0000,0000,0000,,back around.
Dialogue: 0,0:10:36.10,0:10:40.24,Default,,0000,0000,0000,,So gaze is another very very important\Nimplied line.
Dialogue: 0,0:10:42.54,0:10:44.61,Default,,0000,0000,0000,,Okay, value and space.
Dialogue: 0,0:10:44.61,0:10:50.18,Default,,0000,0000,0000,,When we talk about value in art, we're\Ntalking about the lightness or darkness
Dialogue: 0,0:10:50.18,0:10:51.93,Default,,0000,0000,0000,,of something.
Dialogue: 0,0:10:51.93,0:10:56.05,Default,,0000,0000,0000,,When we talk about space, again, 2\Ndimensional but we're thinking about
Dialogue: 0,0:10:56.05,0:10:59.52,Default,,0000,0000,0000,,creating an illusion of distance.
Dialogue: 0,0:10:59.81,0:11:05.38,Default,,0000,0000,0000,,So value, importantly, has the ability to\Ncreate atmospheric perspective.
Dialogue: 0,0:11:05.38,0:11:12.57,Default,,0000,0000,0000,,Again, in this image we're getting a sense\Nof space of a distant landscape because
Dialogue: 0,0:11:12.57,0:11:17.49,Default,,0000,0000,0000,,this mountainscape is getting, um, \Nsort of a gradation effect.
Dialogue: 0,0:11:17.49,0:11:21.38,Default,,0000,0000,0000,,We start from dark, medium, light,\Neven lighter.
Dialogue: 0,0:11:21.38,0:11:24.76,Default,,0000,0000,0000,,So this atmospheric perspective works a\Nlot like fog.
Dialogue: 0,0:11:25.42,0:11:30.41,Default,,0000,0000,0000,,You can think about how things feel very\Nfar away when they're foggy.
Dialogue: 0,0:11:31.81,0:11:38.05,Default,,0000,0000,0000,,Here's another example, if you have a\Nweak atmosphere over here, you have
Dialogue: 0,0:11:38.05,0:11:40.38,Default,,0000,0000,0000,,a certain sense of space.
Dialogue: 0,0:11:40.38,0:11:45.44,Default,,0000,0000,0000,,A stronger atmosphere, over here, and it\Nchanges the way things feel
Dialogue: 0,0:11:45.44,0:11:46.87,Default,,0000,0000,0000,,in the distance.
Dialogue: 0,0:11:50.53,0:11:55.73,Default,,0000,0000,0000,,Okay, value can be really really powerful,\Nyou can use it to emphasize certain things.
Dialogue: 0,0:11:55.73,0:12:01.35,Default,,0000,0000,0000,,You very, very, very much can create these\Nsort of bright sports or areas of high
Dialogue: 0,0:12:01.35,0:12:06.81,Default,,0000,0000,0000,,contrast that will always draw your\Nviewers eye first.
Dialogue: 0,0:12:06.81,0:12:10.46,Default,,0000,0000,0000,,So areas of brightness are very attractive\Nto the eyeball, we're gonna look right
Dialogue: 0,0:12:10.46,0:12:15.58,Default,,0000,0000,0000,,here and we're gonna look right here, \Nespecially because this is so dark
Dialogue: 0,0:12:15.58,0:12:18.88,Default,,0000,0000,0000,,on something that is so bright.
Dialogue: 0,0:12:18.88,0:12:24.57,Default,,0000,0000,0000,,More examples, so these are all focal\Npoints, your eye can't not look here
Dialogue: 0,0:12:24.57,0:12:26.24,Default,,0000,0000,0000,,at this egg.
Dialogue: 0,0:12:26.24,0:12:31.13,Default,,0000,0000,0000,,The focal point is here because it is the\Nbrightest, the highest value.
Dialogue: 0,0:12:31.13,0:12:36.65,Default,,0000,0000,0000,,Same over here, this super high value\Nbeam of light, it is so light and bright
Dialogue: 0,0:12:36.65,0:12:41.27,Default,,0000,0000,0000,,that we start up here and our eye looks\Ndown, so we've got value, we also have
Dialogue: 0,0:12:41.27,0:12:45.42,Default,,0000,0000,0000,,a line here so we're getting a really\Nstrong focal point.
Dialogue: 0,0:12:45.42,0:12:49.83,Default,,0000,0000,0000,,Notice the placement of the main\Nsubject, also in that rule of thirds
Dialogue: 0,0:12:49.83,0:12:52.95,Default,,0000,0000,0000,,it's placed at an interesting kind of\Ndynamic position.
Dialogue: 0,0:12:55.39,0:12:57.83,Default,,0000,0000,0000,,Okay, let's think about collage for\Na minute.
Dialogue: 0,0:12:58.34,0:13:01.26,Default,,0000,0000,0000,,This will be our art historical reference.
Dialogue: 0,0:13:01.47,0:13:05.86,Default,,0000,0000,0000,,Collage comes from the French word\Ncollage, which means 'to glue'.
Dialogue: 0,0:13:05.86,0:13:09.06,Default,,0000,0000,0000,,So this is a really important word, we're\Ngonna think about how this forms the
Dialogue: 0,0:13:09.06,0:13:15.60,Default,,0000,0000,0000,,basis of what we will be doing, which is\Na composite, but the idea and the roots of
Dialogue: 0,0:13:15.60,0:13:17.86,Default,,0000,0000,0000,,this history are very similar.
Dialogue: 0,0:13:19.24,0:13:22.84,Default,,0000,0000,0000,,We draw on collage from some really\Nimportant art movements.
Dialogue: 0,0:13:22.84,0:13:26.70,Default,,0000,0000,0000,,We have cubism, dada, and surrealism.
Dialogue: 0,0:13:26.70,0:13:32.75,Default,,0000,0000,0000,,All of these movements were very important \Nart historically because they integrated signs
Dialogue: 0,0:13:32.75,0:13:34.76,Default,,0000,0000,0000,,and fragments of real things.
Dialogue: 0,0:13:34.76,0:13:39.55,Default,,0000,0000,0000,,This is one of the first times that this\Nhappened in art history, we moved away
Dialogue: 0,0:13:39.55,0:13:45.15,Default,,0000,0000,0000,,from super realistic painting of religious\Nfigures and into using these kind of
Dialogue: 0,0:13:45.15,0:13:50.74,Default,,0000,0000,0000,,everyday materials to create a very \Nobvious art aesthetic.
Dialogue: 0,0:13:50.74,0:13:55.90,Default,,0000,0000,0000,,In a collage, you have very obvious edges,\Nand by edges I mean these look like rough
Dialogue: 0,0:13:55.90,0:13:57.63,Default,,0000,0000,0000,,cut pieces, right?
Dialogue: 0,0:13:57.63,0:14:02.39,Default,,0000,0000,0000,,They're just glued down pieces of paper,\Nmaybe some drawing, maybe some painting.
Dialogue: 0,0:14:02.39,0:14:07.61,Default,,0000,0000,0000,,This was a mix of high and low art, you're\Nvery familiar, we've probably seen a lot
Dialogue: 0,0:14:07.61,0:14:09.16,Default,,0000,0000,0000,,of these kinds of pieces.
Dialogue: 0,0:14:09.16,0:14:11.56,Default,,0000,0000,0000,,Picasso is this example here.
Dialogue: 0,0:14:11.56,0:14:17.32,Default,,0000,0000,0000,,Cubism, you can think about in terms of\Nits sort of fragmented nature.
Dialogue: 0,0:14:17.32,0:14:20.06,Default,,0000,0000,0000,,We have many, many, many parts.
Dialogue: 0,0:14:20.06,0:14:25.12,Default,,0000,0000,0000,,Some cubism was just painted, some also\Nhas collage where they glued little bits
Dialogue: 0,0:14:25.12,0:14:30.99,Default,,0000,0000,0000,,of paper in, but either way think of\Ncubism in this sort of multifaceted nature,
Dialogue: 0,0:14:30.99,0:14:35.56,Default,,0000,0000,0000,,they were really breaking with prior\Ntraditions and attempting to show many
Dialogue: 0,0:14:35.56,0:14:38.20,Default,,0000,0000,0000,,angles at once.
Dialogue: 0,0:14:38.20,0:14:44.63,Default,,0000,0000,0000,,Cubism was really important because it was\Na reaction, it was very much against the
Dialogue: 0,0:14:44.63,0:14:48.14,Default,,0000,0000,0000,,prior tradition of Western art.
Dialogue: 0,0:14:48.14,0:14:52.58,Default,,0000,0000,0000,,The artists broke out of artistic\Nconventions and they made work that felt
Dialogue: 0,0:14:52.58,0:14:55.61,Default,,0000,0000,0000,,fitting for their time period.
Dialogue: 0,0:14:56.31,0:14:58.76,Default,,0000,0000,0000,,This is Braque and Guitar.
Dialogue: 0,0:15:01.20,0:15:03.24,Default,,0000,0000,0000,,Dada came next.
Dialogue: 0,0:15:03.24,0:15:07.07,Default,,0000,0000,0000,,In dada artists incorporated a wide array\Nof iconography.
Dialogue: 0,0:15:07.07,0:15:10.58,Default,,0000,0000,0000,,These are- iconography refers to signs to\Nsigns and symbols.
Dialogue: 0,0:15:10.58,0:15:15.68,Default,,0000,0000,0000,,That was reinterpreted portraits, often\Nthey were figures that were sort of
Dialogue: 0,0:15:15.68,0:15:18.57,Default,,0000,0000,0000,,fantastical, very strange.
Dialogue: 0,0:15:18.57,0:15:23.47,Default,,0000,0000,0000,,They became a little bit more innovative\Nand used different and more material than
Dialogue: 0,0:15:23.47,0:15:26.46,Default,,0000,0000,0000,,our surrealists, or than our cubists.
Dialogue: 0,0:15:26.46,0:15:31.61,Default,,0000,0000,0000,,And again, iconography is really just the\Nstudy of interpretation of visual images
Dialogue: 0,0:15:31.61,0:15:34.37,Default,,0000,0000,0000,,and symbols, so signs and symbols.
Dialogue: 0,0:15:34.37,0:15:41.72,Default,,0000,0000,0000,,Hannah Hoch was a great dada artist, using\Nall magazine bits, cut found material,
Dialogue: 0,0:15:41.72,0:15:49.72,Default,,0000,0000,0000,,interesting sense of scale in Hannah Hoch's\Nwork, interesting combination of elements.
Dialogue: 0,0:15:49.72,0:15:55.34,Default,,0000,0000,0000,,Very strange, uh, fantastical odd\Nportraits.
Dialogue: 0,0:15:56.25,0:15:59.71,Default,,0000,0000,0000,,Hannah Hoch is known for saying "there\Nare no limits to the materials available
Dialogue: 0,0:15:59.71,0:16:03.91,Default,,0000,0000,0000,,for pictorial collages, above all they\Ncan be found in photography, but also
Dialogue: 0,0:16:03.91,0:16:08.80,Default,,0000,0000,0000,,in writing and printed matter even in\Nwaste products."
Dialogue: 0,0:16:11.44,0:16:15.96,Default,,0000,0000,0000,,Here are some more samples of Hannah\NHoch pulling and pushing against
Dialogue: 0,0:16:15.96,0:16:19.93,Default,,0000,0000,0000,,propaganda imagery, things found in\Nnewspapers.
Dialogue: 0,0:16:26.37,0:16:30.67,Default,,0000,0000,0000,,Francis Picabia on the right,\Nincorporating text.
Dialogue: 0,0:16:33.38,0:16:36.34,Default,,0000,0000,0000,,We similarly --\Nwe may not be using magazines
Dialogue: 0,0:16:36.34,0:16:40.62,Default,,0000,0000,0000,,but we have a wide range of\Nimages that we can use
Dialogue: 0,0:16:40.62,0:16:42.44,Default,,0000,0000,0000,,from the internet.
Dialogue: 0,0:16:43.02,0:16:46.12,Default,,0000,0000,0000,,Okay, last art movement that\Nwe are going to quickly look
Dialogue: 0,0:16:46.12,0:16:47.22,Default,,0000,0000,0000,,at is surrealism.
Dialogue: 0,0:16:47.22,0:16:51.46,Default,,0000,0000,0000,,In surrealism, we are talking early \N1900s, 1920s, 30s.
Dialogue: 0,0:16:51.46,0:16:55.48,Default,,0000,0000,0000,,Here things are going to get\Nreally, really crazy.
Dialogue: 0,0:16:55.48,0:16:58.50,Default,,0000,0000,0000,,We start thinking a lot\Nmore about the subconscious.
Dialogue: 0,0:16:58.50,0:17:01.96,Default,,0000,0000,0000,,So this is when Freud becomes\Nkind of apparent and, um,
Dialogue: 0,0:17:01.96,0:17:03.51,Default,,0000,0000,0000,,culturally relevant.
Dialogue: 0,0:17:03.51,0:17:07.60,Default,,0000,0000,0000,,The artist really tap into\Nthis idea of the subconscious.
Dialogue: 0,0:17:07.60,0:17:10.97,Default,,0000,0000,0000,,They think through, um,\Nwhat they call the automatic,
Dialogue: 0,0:17:10.97,0:17:15.52,Default,,0000,0000,0000,,which is sort of letting your brain flow,\Nnot editing yourself.
Dialogue: 0,0:17:15.52,0:17:18.68,Default,,0000,0000,0000,,Psychoanalysis, again,\Nis an area they look into and
Dialogue: 0,0:17:18.68,0:17:21.72,Default,,0000,0000,0000,,they become really concerned with dreams.
Dialogue: 0,0:17:21.72,0:17:24.57,Default,,0000,0000,0000,,You can see that playing out\Nin their work.
Dialogue: 0,0:17:24.57,0:17:26.36,Default,,0000,0000,0000,,So here is Dali.
Dialogue: 0,0:17:28.18,0:17:30.28,Default,,0000,0000,0000,,Magritte, the double secret.
Dialogue: 0,0:17:30.55,0:17:31.91,Default,,0000,0000,0000,,So again, they are really\Nconcerned with the
Dialogue: 0,0:17:31.91,0:17:35.75,Default,,0000,0000,0000,,internal experience of the human.
Dialogue: 0,0:17:36.07,0:17:38.14,Default,,0000,0000,0000,,How does our psychology work?
Dialogue: 0,0:17:38.14,0:17:38.91,Default,,0000,0000,0000,,Our mind?
Dialogue: 0,0:17:38.91,0:17:41.31,Default,,0000,0000,0000,,Our subconscious?
Dialogue: 0,0:17:43.14,0:17:45.44,Default,,0000,0000,0000,,Here is some more Salvador Dali.
Dialogue: 0,0:17:45.88,0:17:49.13,Default,,0000,0000,0000,,Very strange combination of figues.
Dialogue: 0,0:17:49.13,0:17:51.90,Default,,0000,0000,0000,,Always thinking about \Nour design principles.
Dialogue: 0,0:17:51.90,0:17:54.62,Default,,0000,0000,0000,,Look at this horizon, \Nit is in the lower third,
Dialogue: 0,0:17:54.62,0:17:56.88,Default,,0000,0000,0000,,that is an important rule of thirds.
Dialogue: 0,0:17:56.88,0:18:02.00,Default,,0000,0000,0000,,This is not centered,\Nit is off to the left.
Dialogue: 0,0:18:02.94,0:18:04.98,Default,,0000,0000,0000,,Rene Magritte,\Nhere is another one.
Dialogue: 0,0:18:04.98,0:18:08.53,Default,,0000,0000,0000,,Look at the repetition of\Nelements or images.
Dialogue: 0,0:18:08.53,0:18:13.28,Default,,0000,0000,0000,,We've got a pattern of this man \Nsort of falling through the sky.
Dialogue: 0,0:18:14.22,0:18:18.21,Default,,0000,0000,0000,,This is something you could very easily\Nachieve in photoshop after this week.
Dialogue: 0,0:18:19.86,0:18:23.44,Default,,0000,0000,0000,,Okay, so we are going to\Nthink about digital composites.
Dialogue: 0,0:18:23.44,0:18:28.26,Default,,0000,0000,0000,,They have, again, we are sort of\Npulling on our art historical references
Dialogue: 0,0:18:28.26,0:18:30.58,Default,,0000,0000,0000,,but we have moved into the digital era.
Dialogue: 0,0:18:30.58,0:18:34.72,Default,,0000,0000,0000,,How can we achieve some of the\Nsame things, and what might that be?
Dialogue: 0,0:18:34.94,0:18:36.44,Default,,0000,0000,0000,,To what purpose?
Dialogue: 0,0:18:37.02,0:18:40.08,Default,,0000,0000,0000,,So when we talk about a composite\Nit is really important to note that
Dialogue: 0,0:18:40.08,0:18:43.20,Default,,0000,0000,0000,,all we are referencing is the\Ncombination of two or
Dialogue: 0,0:18:43.20,0:18:46.92,Default,,0000,0000,0000,,more images together in a\Nseamless manner.
Dialogue: 0,0:18:46.92,0:18:50.79,Default,,0000,0000,0000,,So we are not necessarily sort of\Nemphasizing those edges like
Dialogue: 0,0:18:50.79,0:18:52.19,Default,,0000,0000,0000,,they did in collage.
Dialogue: 0,0:18:52.19,0:18:54.92,Default,,0000,0000,0000,,We're making it look seamless.
Dialogue: 0,0:18:54.92,0:18:58.86,Default,,0000,0000,0000,,That is the point in a\Ndigital composite.
Dialogue: 0,0:18:58.86,0:19:00.23,Default,,0000,0000,0000,,That is where photoshop will help us.
Dialogue: 0,0:19:00.23,0:19:01.92,Default,,0000,0000,0000,,So here I've got an image.
Dialogue: 0,0:19:01.92,0:19:07.47,Default,,0000,0000,0000,,I have taken the fireworks and\Ncomposited it over this sort of,
Dialogue: 0,0:19:07.47,0:19:11.42,Default,,0000,0000,0000,,um, mountain star scape\Nto get this.
Dialogue: 0,0:19:11.42,0:19:15.11,Default,,0000,0000,0000,,Again, seamlessly done so it\Nappears real even if the
Dialogue: 0,0:19:15.11,0:19:19.90,Default,,0000,0000,0000,,content or the story that it\Nis telling is sort of fantastical.
Dialogue: 0,0:19:21.40,0:19:26.20,Default,,0000,0000,0000,,We are going to get more and\Nmore, um, clever with the
Dialogue: 0,0:19:26.20,0:19:27.79,Default,,0000,0000,0000,,way that we do our composites.
Dialogue: 0,0:19:27.79,0:19:30.61,Default,,0000,0000,0000,,We are starting off slow\Nbut as our images get more complex,
Dialogue: 0,0:19:30.61,0:19:34.20,Default,,0000,0000,0000,,your compositing skills \Nwill get more complex.
Dialogue: 0,0:19:36.56,0:19:39.06,Default,,0000,0000,0000,,There are tons of great composites\Nout there that you can look at
Dialogue: 0,0:19:39.06,0:19:40.64,Default,,0000,0000,0000,,for inspiration.
Dialogue: 0,0:19:40.64,0:19:44.45,Default,,0000,0000,0000,,Remember, we are always looking\Nto create what appears to be a
Dialogue: 0,0:19:44.45,0:19:49.97,Default,,0000,0000,0000,,seamless image even if the idea\Nreveals a magical idea or
Dialogue: 0,0:19:49.97,0:19:52.19,Default,,0000,0000,0000,,a magical truth or \Nsome sort of narrative
Dialogue: 0,0:19:52.19,0:19:55.99,Default,,0000,0000,0000,,that we know is not real\Nbut we can believe it
Dialogue: 0,0:19:55.99,0:19:59.74,Default,,0000,0000,0000,,because it is seamlessly done\Nin photoshop.
Dialogue: 0,0:19:59.74,0:20:01.26,Default,,0000,0000,0000,,This is Eric Johannson.
Dialogue: 0,0:20:01.26,0:20:03.29,Default,,0000,0000,0000,,Great photographer, editor.
Dialogue: 0,0:20:03.29,0:20:06.36,Default,,0000,0000,0000,,You can look up his work,\Nthis is just one example.
Dialogue: 0,0:20:06.36,0:20:09.10,Default,,0000,0000,0000,,I think it is called \N'Give Me More Time'.
Dialogue: 0,0:20:09.10,0:20:17.51,Default,,0000,0000,0000,,Carley Shelly, kind of a\Neveryday portrait photographer
Dialogue: 0,0:20:17.51,0:20:21.66,Default,,0000,0000,0000,,who uses portraits of her \Nsubjects to create digital composites
Dialogue: 0,0:20:21.66,0:20:25.60,Default,,0000,0000,0000,,that fit maybe the characteristics of\Nher clients.
Dialogue: 0,0:20:25.60,0:20:30.44,Default,,0000,0000,0000,,Chris Crisman.
Dialogue: 0,0:20:31.42,0:20:34.97,Default,,0000,0000,0000,,Again, we are really thinking about\Nseamless editing to create a new
Dialogue: 0,0:20:34.97,0:20:40.06,Default,,0000,0000,0000,,scene that is somewhat magical\Nor a new truth.
Dialogue: 0,0:20:43.26,0:20:46.63,Default,,0000,0000,0000,,And Roland Ong, this one, um,\Nthis artist is kind of important
Dialogue: 0,0:20:46.63,0:20:50.04,Default,,0000,0000,0000,,because when you launch the\Nnewest version of photoshop
Dialogue: 0,0:20:50.04,0:20:53.24,Default,,0000,0000,0000,,and you see this sort of man\Nwith a mirror in the clouds,
Dialogue: 0,0:20:53.24,0:20:56.56,Default,,0000,0000,0000,,that actually was done by this artist.
Dialogue: 0,0:20:56.99,0:20:59.73,Default,,0000,0000,0000,,So, interesting sort of tension built.
Dialogue: 0,0:20:59.73,0:21:02.36,Default,,0000,0000,0000,,Again, always looking at the\Nrule of thirds.
Dialogue: 0,0:21:02.36,0:21:06.12,Default,,0000,0000,0000,,The seamless editing so\Nthat these look very real,
Dialogue: 0,0:21:06.12,0:21:10.97,Default,,0000,0000,0000,,knowing of course that the ocean\Nis not a blanket that could be picked up
Dialogue: 0,0:21:10.97,0:21:14.11,Default,,0000,0000,0000,,but again, how could we achieve this\Nin photoshop?
Dialogue: 0,0:21:14.11,0:21:16.79,Default,,0000,0000,0000,,These will be the things that we\Nwill be looking towards doing
Dialogue: 0,0:21:16.79,0:21:18.96,Default,,0000,0000,0000,,for your first assignment.