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2. Storytelling and Composition---4-1.Abstract Excercise1

P21 - 00:00?

?Let’s just quickly do really fun abstract exercise.?

P21 - 00:08做抽象藝術(shù)的訓(xùn)練。?

Basically the purpose of this exercise is to fill out your frames with something. Keeping in mind those design principles.?

P21 - 00:19這都是設(shè)計(jì)原則。?

That's what I usually do. Like when I was learning like these days, I don't have much time to do this. But when I was learning, I would do like a set of different selections.?

P21 - 00:31做起來(lái)的時(shí)候不同的選項(xiàng)。?

Because instead of doing similar selections all the time, I do different ones because I won't use to get used to different aspect ratios as well.?

P21 - 00:42我不喜歡不同的比率。 ?

It's very important. Because like if you're doing a book cover, it was it would probably be a vertical one. So you need to understand how to build up the composition around that.?

P21 - 00:52豎屏的學(xué)會(huì)如何構(gòu)建合成。?

Or if you're working in movies, most of your frames will be horizontal. So that's why you need to train yourself to be able to handle any kind of aspect ratios. ?

P21 - 01:03學(xué)會(huì)訓(xùn)練不同的橫寬比繪制。 ?

So let's start. I just pick a very simple brush.? Like, for example, I'm having this kind of squarish brush and start to fill my frame with something.?

P21 - 01:11近似方形的刷子填充畫(huà)框。 ?

What's good about being abstract? And this is how my brain works.?

P21 - 01:19抽象是我頭腦的思維方式。?

Once you put something, you start seeing things like, for example, what is this thing? I don't know. But once you start to add some kind of details. It could be a tree, It could be a small trunk of a tree or if you put something else, it could be a big environment, ?

P21 - 01:41比如中間加入樹(shù)木或大環(huán)境。?

let’s delete this, And then he put a human right here. Suddenly it becomes a huge thing.?

P21 - 01:48比如加入人，會(huì)變得很大。?

But we are not going into detail. what we will do, but we'll just start filling our frames.?

P21 - 01:56我們需要做的填充畫(huà)框。?

And once again, even though it seems like I'm randomly filling those frames,?

P21 - 02:02看起來(lái)像是隨機(jī)填充畫(huà)框。?

it's actually not. I'm thinking about all of those design principles that I covered for you in the first two chapters like I'm thinking about, return continuity over here.?

P21 - 02:17設(shè)計(jì)元素這復(fù)習(xí)延續(xù)性。?

Let's do another one. Like I'm thinking about contrast right now.?

P21 - 02:28做另一個(gè)抽象繪制。?

The reason there is a contrast as well. Let's just fill all of those frames. And one small remark as well. You don't necessarily need to do them really fast. ?

P21 - 02:46沒(méi)必要圖速度。?

So it's not like I'm just scribbling. Then there is no point in this exercise. But I'm doing here is something that I would never do if I was like literally consciously think about it. So that's why I'm putting some random marks here and and trying to get out of my comfort zone trying to get as abstract as possible. ?

P21 - 03:09我嘗試自己沒(méi)實(shí)驗(yàn)過(guò)的抽象畫(huà)。?

Now we can zoom out. And sometimes, you can pick up your left hand. Have you ever painted something with the left hand? No, but sometimes painting with the left hand will give you some really cool shapes that he would never do if you were using your right hand. that's the purpose of this exercise is to get out of your comfort zone and to create something that you would never create. If you were doing it consciously.?

P21 - 04:03嘗試左手繪制，畫(huà)沒(méi)畫(huà)過(guò)的概念。?

And overall, like if I spend some more time, I could just feel all of those frames with something. And like I can pick up different brushes and stuff like that. And now you can zoom in and start refining those. Putting a little bit of extra effort into each one of those.?

P21 - 04:55換刷子涂滿(mǎn)畫(huà)框后調(diào)節(jié)。?

And everything you had or start describing a story inside your frame.?

P21 - 05:21像是嘗試不同畫(huà)框講述不同故事。?

I will post it here. And we'll do another bunch of those and speed it up. And then I will explain my design choices on what I'm doing.?

P21 - 05:56加速繪制后，再解釋。?

So see you in the next part.?

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2. Storytelling and Composition---4-2.Abstract Excercise2

P22 - 00:01?

?So I posted the previous video and speed up this process just to save your time. So while doing this abstract compositions, I want you to keep three things in mind. The first thing keep them very simple. Like, start very simple. Don't go over, complicate it. Just put a few marks here and there and start seeing something.?

P22 - 00:27原則一簡(jiǎn)單的思考。?

don't think in terms of content. That's not the goal of this studies, when you put something on the canvas stuff like do it in a very abstract way. Don't think about story. I'm putting some guys, I'm going to put in some rocks and painting some trees and paintings on rocks or just be very abstract, put some shapes and then see something. It's very important.?

P22 - 00:52抽象大于故事內(nèi)容。?

Like many people keep asking me, how does it help me when I'm doing a real project. But you do have a brief, you just do it the same way. Because when you're thinking absolutely there is more chance for you to explore some some places, you would never go if you do it very consciously.?

P22 - 01:12單純的思考抽象，可以突破。?

That's what we'll be doing some very precise design exercise when we will have something in mind and will try to illustrate that. ?

P22 - 01:19視覺(jué)化的抽象打印出來(lái)。?

But the reason why I really want you to get comfortable with abstract paintings is because this course is not about painting. And there's no way I can teach you painting in eight weeks. What I can teach you is how to think abstract and how to generate something and fill out your blank canvas with some marks and then start seeing something.?

P22 - 01:42不會(huì)教繪畫(huà)而是抽象畫(huà)。?

And by doing those, you will see how your brain will interpret, like your brain will see different pictures just by putting those marks.?

P22 - 01:54通過(guò)放置一些符號(hào)，看到一些。?

And the second thing, the way you put those mark is also not random. the design principles and design elements that you will be using from now.?

P22 - 02:05現(xiàn)在用的設(shè)計(jì)原則和元素。?

You will be using flat shape, putting some forms texture and stuff like that as design elements.?

P22 - 02:11元素紋理等設(shè)計(jì)元素。?

And there's the design principles. I showed you two very important principles, its contrast and repetition.?

P22 - 02:18對(duì)比重復(fù)也是兩個(gè)設(shè)計(jì)元素。?

And as you can see in these, I’m always following those two principles and putting big shapes, small shapes, making conscious of all sorts of contrast like I'm putting around chains put rectangle shapes, putting some angles, putting some straight lines,?

P22 - 02:38大中小比例，直線(xiàn) 鎖鏈等線(xiàn)條。?

and also to keep the contrast, make sure that you also using different brushes. Like, I don't want you to go really crazy because of the thirds rules keep very simple.?

P22 - 02:50嘗試不同刷子。三分原則。?

So use some flat precious brushes. I'm using some, you can use the ones that I have on my brush set, but it's totally up to you. ?

P22 - 03:02按照個(gè)人喜好設(shè)置刷子。?

But try to use very simple ones, square ones, flat ones that will allow you to keep your shapes clean and not go messy very quickly.?

P22 - 03:14保持干凈，不會(huì)畫(huà)壞。?

So that's number two. And the last thing that you need to keep in your mind when you're doing this is restrict yourself time wise. make sure that you watch the bonus video that I recorded of one of my daily exercises, which I used to do on a daily basis every day.?

P22 - 03:38我每天都訓(xùn)練抽象思維。?

And the way you did it, it sounds like a big deal, to do something on a daily basis. But what you need to you need to put yourself very definite time restriction.?

P22 - 03:48在有限的時(shí)間內(nèi)完成。?

But for me, it used to be like half an hour. Half an hour is nothing. When you compare time wasted doing different unnecessary stuff.?

P22 - 03:58比如兩小時(shí)的繪制過(guò)程。?

it's not only about wasting your time, but it's also big efficient. Whenever you have time limit, you have no time to mess around.?

P22 - 04:11給自己時(shí)間限制沒(méi)犯錯(cuò)機(jī)會(huì)。?

You focus, you concentrate and you just generate some really good content.?

P22 - 04:16繪制好的內(nèi)容。?

And whenever I do anything quick, it could be 3D. It could be complicated by painting or anything simpler or anything more complicated. I always restrained myself don e wise.?

P22 - 04:29聰明的工作。時(shí)間限制。?

That was I use different like online services. You could just go to Google and type in like 30 minutes timer and it will start a countdown.?

P22 - 04:37比如三十分鐘的計(jì)時(shí)器。?

And you will always know how much time you left before you can present something to client.?

P22 - 04:44你就知道多長(zhǎng)時(shí)間可展示給客戶(hù)。?

But for example, doing this, imagine if by the end of the day, you need to present some of these to your director or even to your client,?

P22 - 04:52展示給總監(jiān)或客戶(hù)看。?

and you cannot afford showing them something not finished. Like even if it's rough, it still needs to explain or sell the idea. That's why putting time limits is very important.?

P22 - 05:06縱然是草圖，也要說(shuō)明問(wèn)題。?

And like you see overall what I'm doing here, I'm just applying all this knowledge from the first lecture from lesson number two as well. And I'm just combing conscious repetition. And keeping in mind the fact that I need to be very abstract. I need to stop thinking about the content. Some of these they look like for example, the one of the top row, it looks like a facebook.?

P22 - 05:32不去思考內(nèi)容，專(zhuān)注抽象概念。?

And when I started doing it this, it didn't look like a face. It is just a little a bunch of abstract marks. But then I saw the face and I was like, okay, that's a good idea. So be really abstract. I keep emphasizing it. But it's very important because I think many people struggle because they start to think in terms of content. They start to think, I'm gonna put it. And everything just doesn't work, because it needs a lot of effort and knowledge to be able to construct stuff from scratch.?

P22 - 06:12空白思考內(nèi)容需要很多努力。?

That's why we are choosing the abstract way of thinking. We put some marks and those marks become some big flaws. And using our knowledge of perspective and shapes and design principles, we start to construct the final composition.?

P22 - 06:32視角 設(shè)計(jì)形狀和原則。?

And you as you can see in these, I'm just putting random marks. And then I start seeing structures and quickly some big market small marks. And they all come together and form something that represents that my mind start seeing something and this is the way it works for me.?

P22 - 06:54我看到的標(biāo)志體現(xiàn)在刷子上。?

I know there are people who are like project as they know something that they visualize so enormous that. They see something and they start sketching from scratch. They can do anything complicated. Just by building it inside their head and then start projecting hint on paper. For me, it was always a different case. I struggled a lot by using this projection method. That's why this abstract method is something that helps me to Free my mind and start actually feeling the canvas with something and then generating something that I can bring forward and to build up a picture based on that sketch.?

P22 - 07:35對(duì)我而言，打印視覺(jué)化的草稿。?

So see you in the next room.?

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2. Storytelling and Composition---4-3.Homework

P23 - 00:00?

Your homework is actually very simple. What I really want you to do is to do abstract compositions like this.?

P23 - 00:11做抽象畫(huà)合成。?

Basically the first thing you need to do is set up the time limit.?

P23 - 00:16首先是設(shè)置時(shí)間限制。?

Like this. I would say it should be around 20, 30 minutes per session and how many sessions you do. It's really up to you.?

P23 - 00:33建議二三十分鐘繪制完成。?

You can do one session, you will learn, you can do two, you will learn more. The more you do it, the more you learn.?

P23 - 00:39做的越多，學(xué)的越多。?

So it's all up to you. But make sure that you set up time limits. Because my goal is the second step you would draw, you will make a selection. Start field this selection with something, put a couple of marks, and then you will start seeing things.?

P23 - 00:58第二部放入小標(biāo)注看到東西。?

What is this? Oh, maybe it's a station. Can you put some. And that's it. And then you framed it. That's your composition.?

P23 - 01:11添上畫(huà)框就是合成。?

And as you go, you could start like use different aspect ratios as well. You can start adding different values as well. But staying very simple. Don't go crazy. Don't use a lot of gradient and stuff like that.?

P23 - 01:26沒(méi)必要用很多梯度，保持簡(jiǎn)單。?

Free to form values maximum. That's all you need. Like keep the light around. ?

P23 - 01:45黑白灰盡可能的做出來(lái)。?

And like half an hour, you can do a lot of stuff. Come to brushes, like 3rd thing. Use flat brushes.?

P23 - 02:05用平刷。?

Like you can use one of mine, for example, either this one, this one is very helpful as well, because it has a contrast. And remember,? one of the design principles was contrast. So that's why using this brush. You will get a lot of contrast.? you will get a lot of thin lines and thick lines as well.?

P23 - 02:28可以用到對(duì)比明顯的刷子。?

Or you can use this brush. In the end of the day, it doesn't really matter what brush use, but I really want to stay very graphic. That's why I try to use flat brushes.?

P23 - 02:44最后選擇二維設(shè)計(jì)平面圖。?

You can also use a round brush as well. If you want, but it's all up to you. So it's very simple. Set up your time. Select an aspect ratio, make an abstract composition and use that brush and do it on a daily basis. It's very important.?

P23 - 03:06時(shí)間 橫寬比 平刷對(duì)比 日練。?

because my goal for week two is to try to simplify things and try to make you think about abstract and not in terms of what's the content. This could be anything you want. This could be a space station that this could be a person standing on the platform. Anything you want.?

P23 - 03:26比如可以是人在空間站或站臺(tái)。 ?

All I want you to do is just to keep in mind the design principles, rules, contrast, and repetition, and just fill out these frames and do it on a daily basis one.?