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