?2. Storytelling and Composition---3-2.Repetition

P19 - 00:01?

?So repetition is another very important design principles.if you go back to our design principles. as you can see repetition is not the main title.?

P19 - 00:17回到設(shè)計(jì)原則，重復(fù)不是主要的。?

it is very important design principle because everything else is kind of interconnected with repetition like perspective, as a result of repetitive patterns, range in the distance,?

P19 - 00:34視角線 重復(fù)模式 距離尺度。?

read the continuation similarity and stuff like that. So that's why I think repetition needs separate explanation and separate chapter. ?

P19 - 00:45分開的解釋和分開的章節(jié)。?

So overall, if we do repetitive patterns like this. It doesn't give you a good idea of what we are looking at.?

P19 - 01:05并沒有給到很好的聚焦理解。 ?

But once you start changing things like once you start adding things, that could be a fence,?

P19 - 01:15加入水平重復(fù)，是籬笆。?

Like if you had something over here. It could be your fences, right? You had something here. And once you distort it. It will actually give you a very good sense of scale as well.?

P19 - 01:41重復(fù)后變形就是一面墻的感覺。?

Let's make another example, but go a little bit more complicated.?

P19 - 01:48看另一個(gè)復(fù)雜的案例。?

Let's say you're doing like our architecture base. And we will use repetition to kind of build up our scene.?

P19 - 01:59另一個(gè)用重復(fù)構(gòu)建場(chǎng)景的案例。 ?

I'm using everything from previous chapter about contrast, some building, big shape, small shapes, medium shapes and stuff like that.?

P19 - 02:28對(duì)比 大中小圖形。?

And now once we do this as a repeating pattern. And distorted. Once again. It actually starts giving us a lot of Information.?

P19 - 03:37鐘樓形狀重復(fù)變形。?

The way the it goes, the distance all you need is just to add a little bit couple of human full scale. And then actually start extruding things. instead of having that, let me just quickly do it. I don't really don't want to bother you with perspective stuff.?

P19 - 03:58盡量不用視角線思維去考慮。?

We all know. These guys are going in. And look how quickly and how with a really little effort, I was able to construct it quiet. Describe it quite complex scenery. Just because I was using repetition. And as it started it all is an abstract flat surface. But then using these repeating patterns. And like even for humans, I keep, let's just get rid of this guy over here. Now I want to show you a very quick way and actually introduce a new tool which will help you to create repetitive patterns without spending a lot of time on technical part of the process. ?

P19 - 04:57另一種創(chuàng)建重復(fù)元素的方式。?

So let's just draw this simple human finger, nothing fancy, just a representation of a human finger. I can do a better job. So this is how evil figure. And now there's this guy called mixer brush. Actually, it's over here. I have my anti scientist. So whatever my press b goes to brunch. At present it goes to I make supper and then you enlarge large size, just so covers your character or whatever you're trying to repeat. And then you press the sampling result. And you can see it's very tiny. But you can actually see that you are having bad guy as a sample.?

P19 - 05:59刷子工具放大Alt左上角標(biāo)志。?

And make sure you have a dry option with sample all layers off.?

P19 - 06:02像是關(guān)閉了樣本圖層。?

And basically what it does, it's like a creating a temporary brush. But now I can by resizing my brush. I can make a repetitive guy over here.?

P19 - 06:18可以重復(fù)不同的角色。?

So I can paint with the guy. And it gives me a lot of Information saying the same. For example, you can actually block out the tree,? And then you go to the mixer brush. You sample it. And now you have a temporary repetitive pattern with the tree.?

P19 - 07:04把樹木做樣本，可以到處植樹。?

Probably needs to be smaller. But just by repeating patterns or shaves, you can create a great sense of the scale.?

P19 - 07:16可以重復(fù)不同大小。?

and very quickly you can start generating scenery, something like this.?

P19 - 07:30可以創(chuàng)建場(chǎng)景。?

And then all you need to do. So really quickly, I was able to concentrate purely on this story rather than the technical aspect like repetition and stuff like that. But you get the point. Just by having those repetitive patterns. I was able to creative the perspective and the focal point and stuff like that. ?

P19 - 08:30視角線和聚焦點(diǎn)通過重復(fù)構(gòu)建。?

So Let's do another example and see how it works or something else. For example. Let’s create astronaut. ?

P19 - 09:06宇航員的例子。?

And then you can start creating a lot of like repetitive patterns that will help you to actually make it look like it's complicated. Let's sample this guy, for example. It won't create a zipper. You can use a brush spacing as well. Let's create another one. And then just by doing this really nice graphic elements,?

P19 - 10:34創(chuàng)建二維平面圖。?

you can actually read the whole character. Without actually painting the guy. you're creating an impression. Of something really complicated. Just because we are using repetitive pattern. ?

P19 - 11:08重復(fù)出來的復(fù)雜印象派。?

stay very graphic. Let's do another element. very straightforward. And mixer brush is the best tool. You can like, for example, creative brushes, you can reach one of those design elements that I was using. You can start creating the brush. my problem with creating brush and then you never use that again. ?

P19 - 13:42用組合刷子。?

That's why I think just creating a mix of brush. It will give you a temporary kind of solution. But it also gives you that freedom of being more creative than staying very technical.?

P19 - 14:02技術(shù)層面更具備創(chuàng)造性。?

Cause I know people they have a brazilian amount of brushes, but they never actually using those because you created one for something, and then you never use it again.?

P19 - 14:15比如你為某案例創(chuàng)建的此后不用。?

That's why I think using mixer brush, it's a better choice. And overall, it helps you to stay more focused on the story design rather than technical aspects.?

P19 - 14:29專注講故事而不是技術(shù)層面。?

So let's just do the final tweaks. And then you can take this guy. Let's just move it over here. Go to mixer brush.? Let’s sampled this guy. Start creating crawled over those guys, and then you knock them back.?

P19 - 15:34創(chuàng)建一群體。?

So repetition Is very important. Just as we contrasts, I want you to do some exercises for repetition as well.?

P19 - 16:26用對(duì)照 重復(fù) 做訓(xùn)練。?

And to be honest, they will be fairly similar to what I showed in my demo. What I really want you to do is to design something, really the abstract, just following the design rules that they covered.?

P19 - 16:41遵從前面涉及設(shè)計(jì)規(guī)則。?

Previously, like big shapes, medium shapes, small shapes. Something very abstract. Something that you don't need your brain and you don't need to pay heavily. All you need to do is just follow the medium and small relation. And then you will be fined.?

P19 - 17:05按照大中小的組合。?

And then use repetition. Like, let's say first we flipping. And then we use my mixer brush to sample to clone this object.?

P19 - 17:31混合刷子去克隆樣本。?

And basically what we will end the heavy. To have a bunch of those. If you hold shift. Like you press and hold shift. It will just create a set of those. And obviously we're playing with an offset over here. You can create different notes. ?

P19 - 18:04按住shift克隆一堆重復(fù)來。?

And basically using this panel, you could start building something.?

P19 - 18:13比如可以扭曲平鋪構(gòu)建場(chǎng)景。?

I mean, you can copy. And then all you need to do is to create your story.?

P19 - 18:33復(fù)制 翻轉(zhuǎn) 構(gòu)建故事場(chǎng)景。?

Put a couple of characters. And that's it. And you can generate so many interesting and different stories by using this very simple technique, by repeating and offsetting and squashing and stretching your perspective lines.?

P19 - 19:16重復(fù) 調(diào)整 平鋪 延伸視角線。?

Let's go have something like this. you've got a completely different story.?

P19 - 19:30調(diào)整后完全不同故事。?

It could be some kind of base. It's a very simple just two values, black and white.?

P19 - 20:26黑白兩色非常簡(jiǎn)單。?

generator shape with the mixer brush replicated make a repetition. Distort your design, get the perspective sees something, see some kind of story and generate your frame.?

P19 - 20:42樣本 復(fù)制 扭曲。不同故事。?

this could be beginning of the story. Put text over here.?

P19 - 20:54放置一段對(duì)話。?

Could be a panel in your coming book. So repetition is a very powerful thing. And this is a very simple an effective exercise.?

?

2. Storytelling and Composition---3-3.Composition

P20 - 00:01?

So I think we're finally ready to talk about composition. And once again, why composition wasn't my first kind of lesson.?

P20 - 00:12為什么合成不是我第一節(jié)課。 ?

Because composition is one of the most the biggest pillars of storytelling and everything else.?

P20 - 00:19合成是講述故事第一關(guān)。?

But the problem with composition is the composition is very subjective.?

P20 - 00:25合成是主觀的。?

So like I said, There is no wrong composition. it's like same with photography. Everyone could have a photo camera, And just go and shoot pictures.?

P20 - 00:49每個(gè)人都可以拍照，沒有對(duì)錯(cuò)。?

But anyone can do it. so that some people, they become professionals and some people, they just amateurs.?

P20 - 00:58有些人教授的有些業(yè)余的。?

And both of them they create pictures,? The create something. So but these guys are professionals. They know how to do good compositions. ?

P20 - 01:15專業(yè)的懂得如何做合成。?

So my goal will be to show you and teach you how to make different choices to improve your composition.?

P20 - 01:22做不同選擇改善合成。?

And overall, improve your story as well. So how to do good composition? There are so many rules.?

P20 - 01:33做好合成很多規(guī)則。?

Like if you open PDF, you can read below the articles on composition with a lot of different types of compositions, but I will try to simplify it as much as possible.?

P20 - 01:45很多合成類型盡可能的簡(jiǎn)化。?

So for me, composition but this very simple kind of 30, first one is the rule of thirds. These points, everyone knows what it's about, one two three four.So these are the focal point. If you put your focal points like the main character main vehicle like building under these one of these intersection, it will be a focal point.?

P20 - 02:21三分原則交叉點(diǎn)也是聚焦點(diǎn)。?

And to be honest, it works In most of the cases. like you do something. And the new place. Are over here. So as a simple composition of spring, break the splice to look it because this guy is located on the rule of thirds over here.?

P20 - 02:44比如漁民在海上畫面三分聚焦點(diǎn)。?

And then you could put sun over here. So how do they have to be equal? Not really. some people. there are a lot of like mathematical stuff, like explanations how you should place them. But usually just divided it three. Make sure these parts like the limb part, one of your characters over here, you will be safe. You will create a really nice composition.?

P20 - 03:22好合成標(biāo)準(zhǔn)之一三分原則。?

But does that mean that you can never create a composition like this? No, that's why it's composition is very subjective. It depends on the story that you're trying to create.?

P20 - 03:37不符合三分原則的故事可以的。?

Imagine if this guy was walking this way than this way. This is an absolutely cool composition, because it gives you so much space over here. ?

P20 - 03:46合成有很多的空間。?

So the first thing would be rule of thirds. If you use the rule of thirds, you will be safe. You will create a good composition.?

P20 - 03:59但是按照三分原則不會(huì)錯(cuò)。?

the second one for me. Would be actually, this relation big medium and small.?

P20 - 04:15大中小三部分。?

So whatever, you're creating a composition, instead of dividing into two equal spaces, you can divide the space into three spaces,?

P20 - 04:26可以三分空間。?

but also what you can do. You should definitely will improve your composition, it is to divide your space uneven.?

P20 - 04:35還可以不均勻分布空間。?

For example, let's say, if these were clouds, there was a small gap in the rain. ?

P20 - 04:42有烏云，小空間有雨。?

An immediate create the drama. And you can control the way you look at your picture. Like for example, if you want to show a dramatic sky with a thin horizon line, that's your best choice.?

P20 - 04:58比如水平線可以烘托出天空。?

But let's say you wanna show if we divide a space again? Can we use. But do you wanna show canyon or something like this??

P20 - 05:12比如可以展示大峽谷。?

Then obviously you're dividing your space? unevenly. You use this big medium, small relationship.?

P20 - 05:20但是如果你大中小不均分空間。?

So if we divide this like this. So this is big, small and medium. So what some people call it like if you're doing the design work, it could be 70%, 25% and 5%,?

P20 - 05:4470 25 5的分配比例。?

for example, if you're building something, you're doing a building, some small kind of elements over here. A little bit bigger ones. And then you create nice looking pleasant. A cool looking design, need to save the harmony of this design, instead of dividing this stuff in three equal pieces, which is not as good. Once again, it's not wrong. No one says this is wrong.?

P20 - 06:14大中小分或三等分沒有對(duì)錯(cuò)。?

No one says you can't do it. You actually can do this dividing those on like following the rule of big, medium and small, you can create much cooler and better composition and designs as well.? And the final one for me, it would be actually. Like, let's trip over here. The second one would be big medium, small. And the 3rd one for me, would be the zigzag.?

P20 - 06:52三分 大中小 之字形。?

So basically, what is the zigzag about? Whenever you're trying to create a composition? You need to have an entrance point and exit points. So zigzag something that will help you to achieve this.?

P20 - 07:11之字形像是入口出口一樣。?

So you enter from here, and you exit from here. You kind of using those for stealing fuel of your picture to follow the lines.?

P20 - 07:21沿著線行走。?

It almost imagine you if you were inside the maze, Says something dig dig. when you enter the maze,?

P20 - 07:43類似的，比如進(jìn)入迷宮。?

you are forced to live like this, Because there are wolves.?

P20 - 07:52比如繞行迷宮的線條。?

The same with your composition. When you create the scenery, you create these visuals zigzags.?

P20 - 08:12比如水平場(chǎng)景的之字形。?

First of all, what is this? I don't know, but it forces you to move in a horizontal way. It moves over here. Then you put an exit frame. It could be a tree. Or it could be just something else. So basically, what he did over here is a good composition, because it allows you to experience this travel and you just go for the red color. When you enter from here and you travel on the ground in your frame.?

P20 - 08:34如同場(chǎng)景從下面進(jìn)入上面出去。?

And just by using these zigzag, you can create so many different variations. Like, for example, let's just sketch a simple zigzag, This is a zigzag. And then the next version will be used squash base. And then you stretch this. So you can see what the motion is slow and easy.?

P20 - 09:12開頭用之字形。?

or you can do it vice versa. Like for example, especially when you're doing a landscape and new lines, a vanishing towards the vanishing point. Basically you have like this. And then you start to. And then you understand that these these goes in perspective.?

P20 - 09:27比如壓縮版之字形有走向的。?

using one of the design principles. So zigzags is the 3rd thing. And for me, to be honest, these three guys, the most important things that I use on a daily basis when I construct my composition.?

P20 - 09:49我構(gòu)建合成常用三法寶。?

And once again, there are a lot of different additional rules explanation. Some of them are so complicated that it's very difficult to understand.?

P20 - 10:00開頭復(fù)雜不好理解。?

Follow the rule of thirds. You will be safe. Let's just go for another color. Big, medium, small, you will be safe. Introduce some zigzags, and you will be safe again.?

P20 - 10:14大中小 之字形 都是原則。?

And funny enough, like these rules, they apply not only to environments, same with the characters. Like if you're doing a character, you definitely following the same rules.?

P20 - 10:29比如設(shè)計(jì)角色，尊從同樣規(guī)則。?

using small shapes using big shapes. And it's all about the traffic read as well because characters for they have just the same rules as environments have because design principles, they are universal.?

P20 - 10:44人和場(chǎng)景設(shè)計(jì)原則一致的。?

That's why I really wanted to share with you a little bit of knowledge of our designs principles, because they are universal, but you can apply them for environments. You can reply from them to character design vehicle designed for anything you want.?

P20 - 11:00同樣原則角色 工具 環(huán)境設(shè)計(jì)。?

because the universe, that's why we study them. We need to understand them because we need to control what we are doing. If we understand what we are doing, then it will be really easier for us to go and reach our main goal, which will be telling our stories.?

P20 - 11:29因?yàn)樵O(shè)計(jì)最終服務(wù)講故事。?

When we'll be telling our stories, we need to know all this stuff. We need to subconsciously know it, because all we need to do is concentrate on our stories, not on the technical aspect of stuff.?

P20 - 11:40專注故事而不是技術(shù)層面。?

Remember, we need to understand all the techniques and all the non technical part. And then we will concentrate purely on storytelling.?

P20 - 11:51這樣專注非技術(shù)部分的講故事。?

We will say, what is this guy like? let's put this hat. But how big his head has to be. It depends on what design you doing is and what’s your story is and using rule of thirds, big, small medium zigzags, you can create really nice characters, the vehicles, props and environments are all whatever you want. ?

P20 - 12:17大中小 之字原則可以去創(chuàng)作。?

So that's pretty much it about composition. And what I'm planning to do next, I will show you something about the camera angles, because I would love in this week to concentrate on environments and studying some masters as well.?

P20 - 12:32下節(jié)課講述拍攝視角。?

So see you in the next one.?