AiriPan23+24Dev16+17ColorLight10Crash
23 Lesson 4 - Classic VisDev Painting Part 6 - Recap
P23 - 00:01
This is going to be a very quick summary over how we were able to take just an idea, a verbal prompt, all the way into a completely finished painting, because you just saw the steps.
P23 - 00:13如何把想法绘制成一幅图。
But let's zoom out and look at the bigger picture. This is to emulate exactly something that an art director might give you for an assignment. Or if you simply have an assignment for yourself. If you think about, well, today I want to paint something about little red riding hood or art director says, hey, I want you to do a painting of little red riding hood. We begin first with references.
P23 - 00:34比如绘制一话题，从参考图开始。
We look into what little red riding hood is about. We think about the time era we want. So gathering a bunch of references that will help us accurate our piece.
P23 - 00:46回忆故事发生的年代。收集素材。
The stronger our reference is, the stronger our piece is going to be in the less noodling around and decision making we have to do later on.
P23 - 00:53参考越是清晰，此后调整越容易。
Then we start with our canvas and our composition, knowing that this is going to be something for a animated feature.
P23 - 01:01绘制动画特征。
because it's a visual development piece. We understand our canvas should be around either 1.85 or 2.39 aspect ratio.
P23 - 01:08从1.85-2.39横宽比率。
So we go for a long rectangle like shape. When it comes to composition. I think about what kind of composition I want to go for.
P23 - 01:16我想用什么样的合成。
So for me, it was an arrival shot. So something that's more environment focused with a little bit of character. I thought about what kind of emotion I want to convey in this piece.
P23 - 01:26想作品要传递什么情感。
And I wanted to convey something uplifting. The start of a journey. Therefore I chose a very low camera angle to give our main character red kind of like a stage light present.
P23 - 01:37欢快的旅途，低视角。
So he's up on the screen and to help me decide even more were to actually place him. I opened up my rule of thirds and I plug him right on the intersection.
P23 - 01:44角色放在三分线右侧。
using the references that I gathered and using that as a visual library. I sketched out my entire piece. now is the part will be considered about black and white values.
P23 - 01:54开始考虑黑白图。
I very quickly do a mid ground for ground background, three value structure.
P23 - 02:00前景 中景 背景。
And this is now setting up back down. Then I go ahead and lasso tool and paint every single little aspect out.
P23 - 02:08套索把必要元素圈出来。
So I painted in little red. I've painted the goat. I painted in the bridge, I painted the grass, I painted the shrubs, I painted the rocks, I painted the water, I painted into the sky. I probably didn't have to list all of that out for you.
P23 - 02:22小红帽 山羊 桥清单上需要的。
But that is exactly what you're going to be doing In this case. You're separating each little element out. Then I look at my color preference and I ask myself, how can I get my piece in this flat neutral lighting zone into the same colors as the reference that is presented to me?
P23 - 02:39如何上色和参考图一样的颜色？
After playing around in photoshop, I'm able to get my piece very close to my original reference image.
P23 - 02:45取样，拖动到草图上。
I now have a backbone piece that is going to serve as the structure of the piece that I want to do on Top of it.
P23 - 02:55有主图，可以在上面调节。
From here on, I can either render it to a really high finish. Or I can render it to a medium level of finish.
P23 - 03:03完整度高低的绘制。
Essentially, your piece is here unless they are making some absolutely crazy changes.
P23 - 03:09除非你做疯狂的修改。
This is your piece, like at its core, essentially the soul of the pieces right here. And this stage is so versatile.
P23 - 03:17主图可以按照不同方向改写。
I go in and I do a light rendering on Top. I paint on Top of it and whatever I'm confused as to what colors to use, whenever I'm confused as to what I should tackle next. I look at my reference image and I also rely on the Information that I know about the time of day,
P23 - 03:31参考图的颜色，不同光景的颜色。
about how light works at that specific time of day. For example, sunrise means a very warm environment, long shadows and a little bit of mist,
P23 - 03:41夕阳 温暖 长影子 有点雾霭。
just like I taught you, back in episode three. Then using the power of photoshop, I go in and add light using soft light layers, over layers and color dodge layers.
P23 - 03:52柔光多重重叠高光。
And because photoshop is ever so powerful, I'm also able to go in and essentially filter my piece to,
P23 - 03:59滤镜。
to the exact finish and level that I want. I'm able to fine tune and adjust my colors so that if there's anything left that I wasn't very satisfied with, I can fix it in this stage,
P23 - 04:11不合适地方及时处理。
the entire time. I still have my reference to this side, so I don't go way off the deep end. But as you can see at the very end, my final picture doesn't look super close to my reference, which is a good thing.
P23 - 04:21高仿的并不是完全模拟。
Because now this piece is original and it's ready to be turned in just like that.
P23 - 04:28这就是基本图。
So you see you don't need to just open a canvas and just stare at it for 20 minutes thinking, oh, god, how am I gonna draw this? Break it down into pieces and bring your process down into pieces.
P23 - 04:40把作品分解成元素。分解步骤。
This way, you will make sure that you have a foolproof method, just like making a pizza.
P23 - 04:45无懈可击如同做披萨一样。
You're basically making a recipe for a good piece of art.
P23 - 04:48艺术菜谱。
So are you ready to make your own?
24 Lesson 4 - Classic VisDev Painting Part 7 - Practice & Improvement
P24 - 00:02
So, You came here to practice. Heck. Yeah, let's get improving. I'd like you to again, picking a scene from either little red riding hood or Cinderella. I want you to make one fully finished Visual development painting for it, just like you saw me do.
P24 - 00:23视觉化图片绘制出来。
I want you to show me each of the steps in between. So I want you to show me what your references are. As you can see, my references included the original story, little red riding hood.
P24 - 00:32指出参考图。比如我的是小红帽。
I talked about what the character has and where it's located. And also the time of day. be as creative as you would like. If you don't want to do little red riding hood in Europe, you can do it somewhere else. You can do it in China and Antarctic, in space.
P24 - 00:48可以做全球文化的视频。
I'm not even sure if space would work. Life doesn't work the same as it does in space rather than earth. So maybe not space, but be creative with it. Have fun.
P24 - 00:58发挥创作想象力。
I wanna see your sketch what you're thinking processes and I wanna see what your Ideas are for compositions are.
P24 - 01:05合成图的思路。
And then I wanna see how you separate the values.
P24 - 01:09黑白灰三阈值 前中背三景。
Are you able to separate them clearly? Can you see what the piece is about? Just by looking at it through black and white? Then do your flat colors? And this is completely OK. If it doesn't look to finish, because I just wanna make sure that, you know to separate each of your different items out from person to rock to water to bridge,
P24 - 01:28图层标注不同的元素。
then colour it to the time of day that you're looking for, it also don't forget to make sure the sky is not colored, that you color the sky yourself.
P24 - 01:37不同图层进行上色。
And finally, your finished piece is probably going to look a lot different than the black color that you turned in.
P24 - 01:44每个步骤都检测黑白灰阈值不同。
But that's to be expected because art evolves and it changes.
P24 - 01:48进化中不断的变化。
And good design needs a lot of re iterations.
P24 - 01:52好的设计需要反复迭代。
So ultimately, this is a process that I'm expecting. If you are able to deliver me a piece at every single one of these stages.
P24 - 02:01不同阶段的作品。
And that means that you're learning the process too.
P24 - 02:03说明你学会步骤了。
Therefore I'm only asking for one painting, but I'm asking for your reference sketch value flat, colored flats on your final.
P24 - 02:13素描三景上色光影平衡。
So technically or deliverable would be six different pieces. So be sure that you really think about each of these individual steps,
P24 - 02:21思考这六步。
because you're basically combining everything that we've learned all together.
P24 - 02:24学会的融会贯通了。
If you're feeling really more challenge, you should do more than one. If you ever do run into really serious trouble, or you feel like the piece just isn't working out. Here's a really good piece of advice. Just start over, especially the earlier that you are the easier it is to start over, to start over.
P24 - 02:40早期可以重做。晚期可以做出来。
But if you're anywhere in like the last, like like the last step or like the 5th step, then I would say take it to a finish. But know that your piece is basically decided the moment that you have your black and white values done,
P24 - 02:55黑白灰光影与景深。
cause that's the core of your piece. So if that doesn't work, then your piece isn't going to work that well, therefore. Really focus on every single step. From now on, we will basically be doing this exact same process except next time we're going to be doing a lot of extra photoshop fancy footwork in such.
P24 - 03:15更多有趣的脚本。
It's going to be super fun. Let's get to it. Catch it there.
16 Lesson 3 - Perfect Color and Light, Each Time Part 5 - Recap N Chat
P16 - 00:00
So I lied a bit. before we dive into practice and improvement. I want to quickly recap everything that we spoke about so far in the lecture and module.
P16 - 00:10总结下在单元章节中学到的。
And then I want to have a little heart to heart chat with you. Ok. just you and me. First we talked about the very basic terminology used in color and color theory.
P16 - 00:21基本的颜色理论和术语。
But important thing to note is that color is a supporting element in the painting. But black and white values will always reign as king when it comes to understanding and painting, more clearly overall,
P16 - 00:32黑白是底图，颜色是辅助。
however, color is important because it literally helps us differentiate between different objects.
P16 - 00:38颜色帮助我们区分不同事物。
And it can also offer us a different kind of mood and feeling, depending on the color that is used.
P16 - 00:44不同颜色传递不同的情绪和感觉。
And essentially because light is what gives color, it's well color, light and color go hand in hand.
P16 - 00:52亮度和颜色相互影响。
Light is color and color is light. So knowing that we then examined all of the different times of the day that covers almost all of the different scenarios that you would ever see within sunlight.
P16 - 01:04不同时间段的光不同。
Next we discuss artificial light and how it only affects a small area. And it's never going to be as powerful as natural light.
P16 - 01:11人造光源比不上太阳光的强烈。
However, the important thing to note is that different coloured lights will always be there singing to a different color, almost like a filter, without this effect that things will look odd or out of place.
P16 - 01:22润色成属于这个地方。
And of course we ran over how you can change your colors with the cinnamon demo.
P16 - 01:26如何改变颜色。
Now I want to have a quick heart to heart chat with you. Come on, look into my eyes, stare deep into this stock photo image of a raccoon.
P16 - 01:38看着小熊深邃的眼睛说话。
And let's just connect for a moment. I wanted to talk to you very quickly about the usage of color.
P16 - 01:45探讨下颜色的使用。
And do you remember what I told you? Each color has kind of its own meaning, like blue with sadness or red with anger,
P16 - 01:53蓝色悲伤红色生气。
such as how we associate colors with specific attributes.
P16 - 01:56不同颜色传递不同情感。
I really wanted to bring up some examples that completely break this rule.
P16 - 02:01有些例子打破规则。
Because at the end of the day, art is subjective.
P16 - 02:05艺术是主观的。
It's not math where two plus two equals four, but rather everyone has a different way of looking at things.
P16 - 02:11每个人看待艺术的方式不同。
So blue doesn't need to be at piece or depression each and every time.
P16 - 02:16并不是每一次蓝色代表悲伤。
It just represents that a lot of the time, and it's easy to understand, but I want to show you two examples that completely break the mold.
P16 - 02:26两个案例打破常规。
The first is midsummer, or as some people call it midsumma. It's a horror film, but it takes place in broad daylight.
P16 - 02:35《仲夏夜之梦》用白天光源。
The movie starts off incredibly dim and dark.
P16 - 02:38从暗夜开始的。
And then the main characters travel to Sweden during their midsummer festival,
P16 - 02:43主角到瑞典开启仲夏之旅。
where the sun almost never sets at all.
P16 - 02:45没有日落的时候。
And horrific atrocities take place, like murder suicide.
P16 - 02:51恐怖的镜头就光天化日发生了。
You know. You're a very typical day, average horror business. I love how it took something that we usually perceive as comforting, which is bright sunlight.
P16 - 03:00明亮舒适的艳阳天。
Lovely palates, with this strong sense of uncomfortable unease and ultimately a horror that is so much more powerful.
P16 - 03:09太阳光照射不舒服同时悲剧上演。
Then the stereotypical jump scare, the final scene, Sorry about spoilers here, but i'll keep it light as a character just bathed in flowers and a gorgeous colour and light, in the context for this is that she has just watched someone die a gruesome death.
P16 - 03:29刚刚目睹了某些人不幸的经历。
But it's so gorgeous. And that's why it's so unsettling.
P16 - 03:32很华丽但是不安分。
And at the very end, she smiles, bathed in flowers.
P16 - 03:37最后沐浴在花海里，微笑着。
So I absolutely love this film, because it just straight is so far away from any horror film i've ever seen.
P16 - 03:44和我看过的恐怖电影并不一样。
It is definitely the most beautiful one that i've seen in a long time.
P16 - 03:48这是我看过的最美的电影。
I think the first most beautiful will have to go to coraline but coraline still stuck to stereotypical horror pellets.
P16 - 03:53《鬼妈妈》用的恐怖的素材。
My second example is the movie Nanny McPhee, which is a master class of color story telling.
P16 - 04:01另外一个影视色彩的故事。
Typically that associate a lot of color or something bright and saturated with happiness and fulfillment.
P16 - 04:07充满幸福成就感的亮度饱和有关。
Even just now in our case study of midsummer, the ending scene is so colorful and bright because the character in those flowers is happy.
P16 - 04:17角色在鲜花丛中非常漂亮的。
I mean happy that a man died, but whatever that's not important. However Nanny Mcphee completely turns this on its head. In this movie, color represents chaos.
P16 - 04:30在这里，颜色代表混乱。
It's about a single father who has all of these crazy children that he can't control at all.
P16 - 04:34单身父亲有一群调皮的孩子。
So he hires a magical Nanny to make these kids behave.
P16 - 04:40于是雇佣Nanny管教孩子。
In the beginning, we see the father colored in this almost uncomfortably bright green, is that the tone of the movie to be friendly and fun and for kids. But in actuality, it's telling us that very stressed state of the father, the green is ever too bright.
P16 - 04:56压力很大的父亲，绿色太明亮了。
And then the Nanny arrives. You'll realize that she's the only person who dressed in complete black.
P16 - 05:01主角是唯一穿黑衣服的。
kind of like a pillar of dependent support.
P16 - 05:04像是一个支柱。
All the children are all coloured in a completely different articles of clothing. And then with the villain of the story comes she's dressed in this crazy outfit,
P16 - 05:14恶棍角色穿的装饰华丽奇怪。
one that literally breaks all the rules of good color design. Like literally she is dressed as a bad design and is meant to be so uncomfortable to look at.
P16 - 05:24看起来非常不舒服。
Usually we associate villains with bad guys and with black, but here we have a villain that is dressed in an ultra saturated down in a hideous yellow corn color for hair.
P16 - 05:35头发也是奇丑无比的黄色饰品。
is just like her character, sweet and caring on the outside. But definitely evil on the inside.
P16 - 05:43金玉其外，败絮其中。
the opposite is with Nanny Mcphee, who supposed to be very ugly and very strict. And she's dressed in black as a typical villain wood, but she's incredibly kind hearted and is essentially the savior of the family.
P16 - 05:55外表朴素无华，内心善良。
And finally the father remarries a very kindly lady. And banishes the crazy villain out of his life.
P16 - 06:02最后再娶了善良的女士。
And we have this brand new pallet. It's pure white.
P16 - 06:07圣洁的白颜色。
All the color, all that chaos is gone. We just have harmony to represent This once chaotic family is now whole again,
P16 - 06:17混乱不堪的家庭如今完整了。
it's so gorgeous. And like I said again, this movie is just an absolute master class in color.
P16 - 06:25所以颜色大师级别的课程。
Ultimately, I brought these two examples to show you that again, there are no rules, only consequences.
P16 - 06:31没有规则，只有后果。
A lot of these colors and lighting setups have classic meanings that most people associate them with.
P16 - 06:37经典的含义和大部分人有关联的。
But you can also change it up and have a horror movies in colorful daylight, or have a neutral monotone palette be the beautiful ending and represent happiness rather than sunlight.
P16 - 06:48最后用快乐代言太阳光。
However, in order to break these conventions, we must first understand what the convention actually is.
P16 - 06:54打破陈规前知道陈规是什么？
And so the more you study the color and light in paintings and movies. And the more you carefully observe it in real life and the more that you practice and will lead you to fully understanding color and break convention and deliver something that people have never seen before,
P16 - 07:10深刻的理解才会推陈出新。
or at least something that people have not seen that much. But most importantly, know that there's always multiple ways of doing something. There is never a single answer.
P16 - 07:19没有单一答案，都是多元化的。
I want you to have fun and experiment. with what makes you feel happy, sad, angry, or satisfied.
P16 - 07:28欢乐开心忧愁充分调动情绪。
Essentially, once you know how it works, the world is your oyster. So let's help you get there with your improvement assignment for this module.
P16 - 07:35万变不离其宗的创作。
17 Lesson 3 - Perfect Color and Light, Each Time Part 6 - Practice and Im
P17 - 00:01
So for your assignment, we're gonna have you do the exact same thing that I just showed you with the cinema painting.
P17 - 00:09展示同样的影视效果。
first things first. I'm gonna hand you this neutral lighting piece to make it a little bit more fun.
P17 - 00:15中性光的绘制。
You get a little bird included in it. because the last thing I want you to do is to jump out your window or enduring apples and grapes and statues all day and hating your life. When we have perfectly usable photographs to use in the modern age. But anyways, snow is a perfect place to start off with, because typically snow occurs during cloudy days.
P17 - 00:36雪天是多云天气，中性光。
So it's already a neutral lighting setup. And as you can see in this photo, it has a lot of white. So that makes it really easy to make adjustments.
P17 - 00:44雪天很容易进行调节。
Don't even worry too much of the background. You can make it a flat color, or just lightly painted, and then blurt out the background.
P17 - 00:50无景深 锃亮 填补背景。
The main purpose of this assignment is the colour. But that's not to say that we're not going to forget everything that we've done so far.
P17 - 00:57并不是摒弃过去理论。
Even though this is a photograph and not really curator for composition or anything for a movie or film. I want you to look at it and ask yourself what the overall composition of this piece passed, and also where its black and white values lie.
P17 - 01:15整体合成什么样子的，黑白阈值。
Truthfully, this piece is honestly quite simple. My three values would be here, the white and then here a medium level of grey and then here a level of black.
P17 - 01:27白灰黑。
And you can find this darker shade on other little parts of the piece.
P17 - 01:33另一面找到背光阴影面。
And in the background I would try to simplify more. But you can see that when you turn the piece into black and white and reads very clearly.
P17 - 01:39黑白鲜明的。
So make sure that when you're doing your peace, it reads clearly too. keep it in the back of your mind. I'd like you to do a painting study of this piece to a pretty finish Fidelity, similar to the level that I had with my cinimonal painting.
P17 - 01:52力求保真性。
And i'd like you to turn it into color specifically into these two times a day,
P17 - 01:59颜色转化成一天中这两个时间段。
sunset and night time.
P17 - 02:02夕阳和午夜。
To give you a head start, in case you're kind of lost or if you're a little bit intimidated until you're gonna do that, just follow these simple steps, like you saw in the demo.
P17 - 02:14模拟演示片中的步骤。
First of all, you're going to lighten the overall piece.
P17 - 02:16锃亮。
And if we're doing the sunset piece that we're going to see what color the light is.
P17 - 02:22夕阳西下的颜色。
In this case, it's kind of a shade of pink.
P17 - 02:24粉色的阴影。
So we add a multiply layer and color are snow pink.
P17 - 02:29多重层 雪粉色。
And you can totally color pick from the photo and use the photo as a solid reference.
P17 - 02:33作为参考图。
Next after that, we look at what color the shadows would be,
P17 - 02:38颜色阴影什么样的？
which in this case is kind of more of a shade of blue.
P17 - 02:41蓝色的阴影。
So we take our original lighten photo and we create a new image where it's blue.
P17 - 02:46锃亮 蓝色。
And as you slowly paint away this blue layer or use a layer mask,
P17 - 02:52图层蒙版 午夜蓝色。
then super quick, just a disclaimer. This is done very, very quickly. This is just to show you the steps to not as if it's a finished piece,
P17 - 02:59并非成品。
but you can get something kind of like. This definitely not on the finnish side, a dictionary. If you see here our sunset has a beautiful blue sky over here.
P17 - 03:11有漂亮的天空。
So to make it more accurate, we should add that sky in as well, just so that the piece makes more cohesive sets.
P17 - 03:20换上背景图的天空色。
So this would be the steps that you would take to create this piece. And you just repeat that process for night time. It's completely okay for you to struggle or slow down at the section because it's probably a new form of working for you.
P17 - 03:30慢点但是保证质量。
Or maybe it is it. And your method is much faster than mine. in that case. Please let me take your class instead,
P17 - 03:38如果你有更快的方案，分享出来。
but take your time to really try and get the colours as accurate as the photo reference as possible.
P17 - 03:44尽可能的精确。
And once you're done, i'd like you to do one more piece, or you find a neutral lighting set up. And you re created into two different times of day or two different light scenarios.
P17 - 03:53两个光景 两个光源。
This can be from a movie, a photograph, or animated scene, as long as it's neutral. And in one of those two iterations, I want you to also Include an artificial light,
P17 - 04:03加入人造光源。
whether it's a lamp, light or candle, you don't need to actually draw the light source if you can't find a suitable way to incorporate it into the painting.
P17 - 04:14用台灯或者蜡烛。
But if so, then you need to make it extra clear where that light is coming from. And as always, I encourage you to try even more.
P17 - 04:22尽可能多的去尝试。
And most importantly, have fun with it. One of my favorite color artist would have to be WenJun Lin color.
P17 - 04:30我最喜欢的作者笔下的颜色。
something that is to be experimented with is one of my favorite things to experiment with it.
P17 - 04:35试错实验是乐趣。
So really go ahead with it, though, to be clear on what your base level of the liberals are.
P17 - 04:41基本的步骤。
They are number one. I want the bird house painting as a study.
P17 - 04:45鸟屋绘制是个基础。
I want an iteration of it in sunset and one another iteration of it at night. Additionally, I want a painting study of something that you choose of your own. And then I want one iteration with an artificial light and then another iteration of any kind of lines. But you can choose and more and more and more if you choose to do so. Although at the very least, i'd like six base paintings.
P17 - 05:10六种基本的步骤绘制。
Take your time, have fun, go off and explore and see what you can do. And come up with as always, I cannot wait. I'll catch you guys in the next module.
10 Lesson 2 - Crash Course Composition Part 4 - Composition Summary
P10 - 00:01
Welcome to your second summary. Let’s go over some of the key points that we mentioned to freshen up everything and really cemented into our long term memory.
P10 - 00:09我们回顾了横宽比演变史。
First and foremost, our composition begins with our canvas, the screen or paper that we're using,
P10 - 00:16源自于画布 屏幕 纸张。
and it can be of any length, size and shape.
P10 - 00:19不限制长度 大小 形状。
It could be an oval or be a leaf.
P10 - 00:22卵形的或者树叶的。
But typically, since concept art as a job or hobby is made for the computer screen or media will be sticking with rectangles.
P10 - 00:29计算机屏幕媒体标准长宽比。
Therefore we went through history to understand how canvases and aspect ratios used to be a 4 to 3 format.
P10 - 00:36过去4:3的长宽比。
But with time they stretched out to a 1.85 ratio,
P10 - 00:40变成1.85长宽比。
whereas our average computer screen is a 1.78 ratio.
P10 - 00:44计算机1.78长宽比。
or the famous 16 by 9 ratio.
P10 - 00:47最常见的16除以9比率。
However, some cinema style goes even wider and some cinema go shorter.
P10 - 00:52影视屏幕宽点，短点。
Wider shots make the scene feel more epic and grand and are great for environment.
P10 - 00:56宽景适合宏伟外景。
While short scenes are great for intimate scenes with characters.
P10 - 01:00短场景适合亲密的角色。
Next we went into fractions though,
P10 - 01:04比例分配部分。
and learned that we can typically divide the composition into 50 50, 2030 and 1030, which also technically should be 1020.
P10 - 01:13五五二三一三一二。
It's just that 1030 and 2030 just roll off the tongue so much more.
P10 - 01:18一三二三最常见。
But technically, yes, they are just 1/3, 2/3. Ok. And then 2080 and 1090.
P10 - 01:23二八一九点分配。
Each of these usually provide a different feeling. For example, 5050 is the most balanced and is good for censoring things or providing emphasis.
P10 - 01:31五五分对比突出重点。
But also it feels a little bit unnatural, a bit too perfect.
P10 - 01:35太完美反而不自然。
The most commonly used is the 1/3, 2/3, or wise, I like to call it 2030 and 1030,
P10 - 01:43二三一三。
where the subject isn't in the middle of the screen and it feels more natural.
P10 - 01:48不居中反而正常。
It can be used for absolutely everything from characters to environments.
P10 - 01:52适用于角色到环境。
Then we have the 2080, which technically is the 1/4.
P10 - 01:56二八一四。
I know guys, I know my fractions don't worry. And it's more extreme counterpart. The 1090 typically used for big environment scenes.
P10 - 02:06一九用于大环境。
but the most classic fraction of them all is a combination of the 1/3 and 2/3, 1030, 2030.
P10 - 02:14一三二三。
into a grid known as the rule of thirds,
P10 - 02:16三分原则。
where important items should be placed on the intersection.
P10 - 02:21重要的放在三分交叉线上。
However, we also know that these rules infractions are guidelines in order to help us decide how we want to separate our composition.
P10 - 02:28如何布局谋篇。
They are not absolute rules that we must follow to the bone or die if we defy them. And lastly, by combining everything that we've learned, we can create compositions that will truly make our audience members feel something.
P10 - 02:40合成传递意义。
Some of the most common examples of this are hiding from spying on the big versus small, the arrival shot, the altarpiece and the close up.
P10 - 02:51窥探大小抵达墓碑特写。
Each of these are classically used everywhere and they are all used to convey certain moods, because at the end of the day, composition is used to help us tell a story and keep things organized for us.
P10 - 03:05讲述故事，保持有组织性用的。
It's like a schedule or a skeleton,
P10 - 03:08时间表或者骨架。
and keep things locked in and Guide our viewer to see what they should be seeing.
P10 - 03:14指引观众的聚焦点。
That's why when compare to a pizza, composition and black and white values which are really closely connected would be your dough.
P10 - 03:22黑白阈值类似披萨的面团。
Now, before we can go learn about how to make the source of our concept, our pizza, let's talk about how you can get better at compositions.
P10 - 03:30如何更好的构图。
So let's do some practice and improvement.
