Jama Jurabaev 18.27
2. Storytelling and Composition---3-1.Design Principles
P18 - 00:00
let's start with design principles. And let's start with the first one, which is unity and harmony,
P18 - 00:06第一设计原则团结和谐。
by the way. Quick remark. I'm taking all of these principles from just a simple Wikipedia page.
P18 - 00:15维基百科上的原则。
And to be honest, I don't want to bother you with this law just by copy pasting this text.
P18 - 00:22不是简单复制粘贴。
because there are so many interpretations of design and principles you can find new books just dedicated to explain what design principles of design I bought.
P18 - 00:36不断有设计原则新书出来。
That's why I will simplify everything and tried just to visualize everything in a very simple form. So you get the essential because it took me ages to learn every one of those.
P18 - 00:46就简化成几条原则。
What I will be trying to deliver to you is just the essential part, just the core ideas behind these principles.
P18 - 00:55原则背后的核心。
So let's start with the first one unity and the harmony. And it says basically Is about. It's kind of self explanatory. Your design should be unified and everything should be in harmony.
P18 - 01:08一致和谐的。
And it's a very vague kind of statement, because it's obviously everything should be unified.
P18 - 01:16解释的并不明朗。
But it what I like about this principle, you have definite methods that you can use to make a picture look unified.
P18 - 01:26需要用一个统一的图片。
For example, let's go and see the first one. The perspective, obvious perspective is one of the core elements of design,
P18 - 01:37视角线是设计的核心原则之一。
because most of 90% of the stuff you're doing is in perspective. It's not flat image instead of 3 Dimensional space that you need to describe.
P18 - 01:493维里没有平面图形。
And if you don't know, perspective, then you are in big trouble.
P18 - 01:56如果不理解视角线是个大问题。
So that's why everything you do should be in perspective. the question would be do you really need to know perspective to be able to create really complicated perspective. I don't think so. Like because there are so many tools these days that you can use. That will simplify your life in terms of perspective.
P18 - 02:24很多的工具替代绘制视角线。
because once you get very complicated, imagine it being like one vanishing point perspective is quite easy and anyone can do.
P18 - 02:33一个消失点的视角线好绘制。
And imagine you have 3 4 5 vanishing points, then it just gets super complicated.
P18 - 02:39多个消失点点视角线就变得复杂。
So that's why people use 3D or we use some other programs that will help you to track perspective that I will show you in further lectures.
P18 - 02:55用其它工具来替代视角线的绘制。
So perspective is one of those things that you need to keep in mind. And perspective will always help you to create better designs and also help you a lot to reinforce your designs as well.
P18 - 03:08视角线加强更好的设计。
Because by using perspective, for example, you're building something. Let’s say. and you do something like this? You really don't know how big this thing is.
P18 - 03:22视角线协助构建的。
But once you put the human over here. Then you put another one over here and you put another over here. And you kind of understand that these guys, they are going into perspective and then you just realize Oh, my god! This is a big guy,
P18 - 03:40不同位置布景意识到是大物体。
So perspective helps you to tell the story. So that's the third kind of method that we will be using into unity and harmony.
P18 - 03:51用团结和谐里面的第三个原则。
let's go to another one, similarity. Well, similarity. Basically, I just showed you the primitive example of similarity,
P18 - 04:01第二原则类似性。
its ability to see similar objects. as for example, create like a lamp post. Everybody knows what the lamp post looks like. You can use this one as a story element, for example, in the further lectures, I will show you how to use the mixer brush.
P18 - 04:25用混合刷子。
We can just copy this guy. We can quickly building our perspective.
P18 - 04:40复制来绘制视角。
And now seeing those repeating elements, you can kind of see the base is going into the distance.
P18 - 04:48看着重复的元素近大远小排成列。
And if you need to tell a story, let's say there was something in the end of this tunnel or the road. And then you Guide your eyes. your eye from here. And it helps you to tell the stories.
P18 - 05:07眼睛协助讲述故事。
So that's why the similarity is the second principle that we use to kind of design of frame.
P18 - 05:15第二原则是用相似性定框。
Let’s go to the next one continuation. continuation is kind of similar being it's a bit different.
P18 - 05:27第三原则是延续性。
Of course, let’s do all frame again. Basically continuation is, for example, if you start designing your frame. You using this continuous lines. And they don't need to be like the easiest example would be a place of river.
P18 - 05:48最简单的设计比如河流。
What's it like this? And then you enter this frame from here and then your eye follow the river. And the you I will naturally follow the river.
P18 - 06:01看到河流从一头进入，蜿蜒曲折。
You don't need to always use like rolls or something like that. You can use elements like, let's say you've got human over here. you've got some few rocks. And then over there you've got some new rocks and then over there you’ve got the big rock.
P18 - 06:22比如河流这边有人，对面有岩石。
And basically what's happening? You're entering frame with this human because we read from left to right, you go to these bushes, look at them, and then you go to these guys, and then you jump over here.
P18 - 06:37眼睛的跳跃看岩石的。
So basically, a continuation is all about creating the zigzag in motion inside your frame.
P18 - 06:43延续性是画框内之字形曲折前行。
it's not only about the zigzag motion. the motion could be circular as well.
P18 - 06:50可以是之字形可以是圆圈。
Like, for example, if you take another frame. you can also introduce like a circular motion. We did arranging elements in such a way that they force you to For example, it could be two characters doing something and how the two characters fighting with each other. And then you have a circular motion,
P18 - 07:14比如两个角色打架圆形设计。
but it's all continued motion. But if you analyse any of all masters and when I will be analyzing like in the movie frames, you will see so much of continuation going on,
P18 - 07:26影视级别的有延续性。
like everything is falling into each other. Nothing is being like interrupted at all.
P18 - 07:34一切看起来不会改变。
Nothing just stops randomly, everything kind of flows to each other.
P18 - 07:44像是一切都流淌延续。
And like for example, if you analyze old masters, they always do. For example, this continuous lines flow, and then you will you travel inside your picture.
P18 - 07:56线条的延续性，指引注意力。
So I will be showing you examples of master studies. and you will clearly understand what continuation means. Let's jump to the next one repetition. Well, actually most of these they're kind of interconnected and connecting with each other. So I already kind of sort of repetition.
P18 - 08:27下一个原则，重复性。
Remember in the very first lecture, let's sketch something. Some elements. Now we have this repeating pattern that you can use. For example, let's do it like this.
P18 - 08:49现在有重复的元素。
So you can use this element to describe form photo.
P18 - 09:04该元素可以描述某种形式。
That's actually could be like some flower patterns or something like that.
P18 - 09:12可以作为某种花色。
So what are you using the repeating elements, which are going with this? you using these elements? We enforce the unity again.
P18 - 09:32用重复加强了浑然一体感觉。
We're going back to unity because you're reinforcing the sense of perspective.
P18 - 09:38增加整体的视觉感。
And you also reinforcing the sense of continuation as well.
P18 - 09:42同时加强延续性。
Because you're seeing those lines. But that pattern diminishing towards the vanishing point.
P18 - 09:49远处交汇点消失点。
So repetition is one of them most powerful tools to show the scale and the form and the sense of the space.
P18 - 10:00重复也增加了空间感。
How about next one? reap. Well, read is a very very important one. the moment when I realized how powerful the read is, it was kind of the moment when I started enjoying what was that? Overall reads can be anywhere. Like you could start from simple like lines. Let's put a set of lines. We put like, this is pretty cool. You can see frames like this.
P18 - 10:36像是简单线条构成的框架。
Is the this that interesting? Maybe not. Because if you start offsetting your frame, your lines, you won't get the same stuff motion.
P18 - 10:51重新排列线条获得图形。
like for example, the tree's the best example when you're drawing the trees, you keeping this read everything just flows to each other naturally. You can see the motion how it goes.
P18 - 11:10可以看到线条的走向。
If you're doing a character instead of doing like a t pose character, you drink like you're bending the body, for example, let's say you're bending the body and You just create this natural flows inside the body.
P18 - 11:29身体弯腰，也是弧线重复创建的。
And it will always help you to create more dynamic images. If you start creating this nice reads and slice picture, like if it was because if it was inside a frame, you will still use it. You can do it like this and go. So if this was your river, so you're creating a nice rivers.
P18 - 11:53框架内创建的河流。
And that allows you to improve your design and improve your story as well.
P18 - 12:10改善你设计和讲故事。
So this was all about unity and harmony. But before I tell you more about principles,
P18 - 12:17讲述更多的原则前。
I would like to say something very, very important. Like for example, want to start. We will start doing more complicated stuff and like reading compositions and designs.
P18 - 12:34比如我们开始做复杂的合成设计。
I would like you to always remember there is nothing like wrong composition.
P18 - 12:40不存在错误的合成。
There's nothing like a wrong design. But there's always bad composition or design.
P18 - 13:02没有错的的合成，只有不好的。
There is always good composition or design. So this is where we are aiming to. We want to create good compositions and good designs.
P18 - 13:17我们的目标朝着好的设计进军的。
I particularly had a lot of difficult time. The students that would ask me questions like they would send me 10 different frames.
P18 - 13:29比如有学生送给我10不同框架。
like different different ideas. With different compositions as well.
P18 - 13:36不同思维不同合成。
And then we lost me like, oh man, can you help me which one is better than the other.
P18 - 13:42问哪一个更好。
And I will always tell them like every one of those, like obviously some sort of compositions, they don't work, but there like at least two or three compositions that are pretty cool that all of them are pretty good.
P18 - 13:55总有两三个是好的。
And in order to choose the one you won't finish or finalize.
P18 - 14:02选择出不能继续完成的合成。
You need to understand what is this story? What is the the main thing that you want to tell with you composition or design.
P18 - 14:14问问自己想讲述什么故事。
And once you address this question, then it will be so easy to you for you to understand.
P18 - 14:21就会容易分辨出来。
this doesn't work because it doesn’t work for story.
P18 - 14:25并不服务于故事。
And this doesn’t work, because the story is not that strong. And this one actually is a good one. to select this one, only ask yourself, what is your story? And does everything inside your frame help to reinforce this story.
P18 - 14:44选择服务故事的概念画。
And that's why I kind of we encourage everyone, instead of doing like millions and millions of very cool compositions is concentrated to free that you think service story.
P18 - 15:02合成服务于想表述的故事。
And then you will definitely eliminate everything else and you will spend less time on unnecessary stuff.
P18 - 15:08避免给细枝末节浪费时间。
And he will spend more time on what's essential and what's important.
P18 - 15:12专注给核心和重要的。
So ask yourself the question. What's my story? And find the corresponding design of framed that will kind of answering your question.
P18 - 15:23相关设计可以回答故事。
anyway. It was just a quick side note. And let's just move on. So the next one will be balanced.
P18 - 15:36下一个平衡问题。
And I would love to actually keep the balance. Because balance is a very subjective thing.
P18 - 15:47平衡是主观判断。
Of course, we all know the scale. For example, if you put a big object over here,
P18 - 15:51比如天秤右侧放大物体。
then you need to put something smaller. But the certain way to kind of balance these two guys.
P18 - 15:59跷跷板长端放小物体，保持平衡。
The good news for us, this rule is so like every one of those worlds, they will help us. But what we need to do and we'll study them and then we will forget them to create, to break the boundaries.
P18 - 16:16打破重建平衡。
But basically. that's why in my career like I do know the balance very well. I do keep in mind. Balance as well. But I don't think it's something that should really restrict you and that this is something we really need to emphasize.
P18 - 16:35平衡不是强调和限制。
So I will just keep the balance and go straight to hierarchy.
P18 - 16:42接下来看等级。
Actually, hierarchy is a very important one because. It's another occasional case.
P18 - 16:50级别是另一种偶然事件。
When people ask me, what do I think about their composition or design? And then I ask myself, I ask them, what's your story?
P18 - 16:58如何设计合成取决于故事构思。
And they tell me, okay, my story is this one. And then ask the second question. The first one was, what is your story?
P18 - 17:08第一件问故事是什么。
My second question would be, who is the main. what is the focal point? Or who's the main guy?
P18 - 17:28聚焦点和主角是谁？
Let's put it this way, because you always need to build a hierarchy inside your composition.
P18 - 17:34合成内部构建级联。
So let's say there was the main guy in the composition and the story is all about him. Then he needs to be the kid, the biggest guy with the highest contrast, then he needs to be in the center of everything.
P18 - 17:53主角也是黑白冲突最明显的。
And how you can achieve this. I will show you a lot of different examples, just by tweaking colors just by putting it a little bit off more emphasize on the guy.
P18 - 18:01调节颜色让角色更突出。
you will build this hierarchy inside your framework. For example, you can do it size wise. If you do one big, and then you will make a smaller guy. and instantly you create a hierarchy.
P18 - 18:19画框内，大小角色，级联图层。
So this is your main guy. Number one, this is his second guy, because he's smaller. This guy has more contrast. So that's why you need to ask yourself, who is the main guy in your story, it could be just the building. It could be a tree, but you always need to build the hierarchy because you need to guide your viewer, inside your frame.
P18 - 18:49角色黑白对比最强是观众聚焦点。
For example, you can make a mountain. That becomes you. And then you build a human. And then you have this interaction between those two.
P18 - 19:08比如大山和人之间对话。
And inside your frame. That's why I keep saying all of those rules there. They can be interconnected with each other because, we’ll be using all of them all at once. for example, You will have something you will build something.
P18 - 19:30比如可以构建角色之间的联系。
And then you will build a hierarchy around it. You will say this is one of those guys, second, 3rd, 4th. And by doing this, you're creating a continuity of creating a rhythm. You're creating the visual flow inside your frame.
P18 - 19:50剧照中不同角色传递的延续性。
let's go to the next one. Dominance emphasis is the similar in contrast. Actually, this is the 1 I want to explore a little bit more, because this is the one that kind of Is more is less vague than the others.
P18 - 20:18这点比其它点更不清楚。
The contrast is something everybody could understand and introducing contrast to a design, Have a dramatic impact of how you tell your story.
P18 - 20:30黑白对比决定如何讲述故事。
So there are tons of different contrast types. let's just make a really great example for everyone.
P18 - 20:42很多对比的类型。
Let’s start very simple. Let's say we're looking. making lines like this. And then once you put one of them pointing into another direction, this immediately becomes useful. The point of contrast, this is immediately becomes the number one main guy in this composition.
P18 - 21:19合成中不和谐变成瞩目元素。
And the way you can do it. So there's like millions ways to do it. But it's all about contrast. Once you understand the main principle, which is contrast, you can just create crazy stuff. But let's do the same thing.
P18 - 21:39类似的例子。
because I introduce a little bit before I write, it just looks different right now. But let's just keep it like this. And then let's put a couple of lines like this. You see a contrast between like most of them, they were evenly spaced, not exactly in this place, but approximately. But once you put some very close ones. It just draws your attitude.
P18 - 22:05可以密集的绘制线条。
It's absolutely something you will see as if those are read. And remember when I started this lesson, I told you that let's start from a very simple design, because composition starts as a graphic read.
P18 - 22:24合成源自于平面图设计。
When you look at the composition, the first impression comes not from the content. Like, what is this? I don't know. It could be valley could be like an aerial photo of the fields or It could be the pattern of the floor.
P18 - 22:43可能是地板的格式。
I don't know. but what's important whenever I see the first read is what I get from the composition. So we will always be looking for a graphic look.
P18 - 23:09简单的设计展示。
That's why we kind of we will avoid color. First. We will concentrate on a very simple graphical look. But let's see, some of the other contrast types.
P18 - 23:23看看其它对比类型。
Like I already showed failed empty. That's the most basic one. When you do something like this, your eyes go to this one. This becomes a focal point in the main guy.
P18 - 23:43聚焦点在主角上。
For a year. It's the same thing. Like here, using the contrast to show the dimension.
P18 - 23:53黑白灰展示层次。
Form simple viruses, complex. All of these, they will serve you as your design principles to tell you stories.
P18 - 24:00设计原则进行讲述。
Like for example. Let's say. Once you put something over here, it draws your eye or you can do something like this. Put something solid over here. Now it draws your eyes well.
P18 - 24:24稀疏中浓墨重彩的一笔博人眼球。
So you look straight here because it has a contrast. So how can this work? Like, for example, this frame, if we doing a movie. For example, you're taking this shot. When let's say you have beautiful fences.
P18 - 24:49比如绘制剧照有漂亮的篱笆。
And then behind the fences, you've got actually personally walking. And then you see a drone immediately to you. I goes immediately to this one, or it could be a window.
P18 - 25:15窗户后的人影引起人的注意。
So it doesn't necessarily always goes to very usually people tend to do look very simple, very strong contrast like you do something like this, makes experience 10 likes on Facebook. That's a very strong composition. There is no doubt like it.
P18 - 25:45比如绘制鲜明对比是不会出错的。
But if you know those contrast different contrast types, you can create a very complicated and interesting different designs. for example. And then over here. That's something solid. And then this becomes a focal point.
P18 - 26:12比如纹理中圆形这是聚焦点。
So there are a lot of those. what I would like to do, I made a simple set up for you guys, which is a little bit more visually representative than this.
P18 - 26:27视觉化代表。
because these exercises are very simple. that's why I really wanted to show you because one of the exercises for you this week, we will be doing like a simple compositions. Just really abstract nothing fancy, really want you to improve your abstract side of your brain.
P18 - 26:49构建抽象绘画的思维。
But also we have another section where it will be much more visually represented.
P18 - 27:03另一部分视觉化呈现。
And I will be showing all those contracts to show you how it works.
P18 - 27:07用对比展示如何工作的。
So that's all pretty much about design principles, to be honest. And I know whenever you show something, especially when I was in school, when you read text like this, it just comes to one of your ears and goes out from another.
P18 - 27:23条理不清未必有效理解。
Nothing actually stays before you actually start doing something. That's why I wholly encourage you get some other resources. We're a little bit more about it, because once you understand this stuff, it's so powerful. It will be enabled you to create really powerful designs and stories.
P18 - 27:48重点理解，后的运用。
let's move on to the next lecture.
