??

3. Storytelling and Composition II---1-4.Light

P27 - 00:00?

?We have the last probably most important compositional element, like, light is a big guy.?

P27 - 00:10光是最后一個設(shè)計元素。?

You can have a little bit of like sloppy knowledge of camera lenses and camera position.?

P27 - 00:16多少有些鏡頭和攝像方位的知識。?

But if you don't understand how to play with the light, you losing a lot, because light basically is everything. Whenever you have a black composition with no light, there is no story. ?

P27 - 00:30單純黑白沒有光就沒有故事。?

But once you put a light in it. You'll start seeing stories.?

P27 - 00:41白色光放在里面，有故事了。?

So if you know how to play with light, know how to use those trick. You can dramatically improve your storytelling.?

P27 - 01:01懂得用光，改善講故事。?

So let's jump straight into my 3D template that I made for you.?

P27 - 01:08看3D藍圖。?

And it's very simple. Actually. There is no physical light that's in this scene. Everything is just a texture. That's why it looks very graphic.?

P27 - 01:13二維紋理看起來平面設(shè)計。?

So having these lights set up, it's kind of everything screams. This girl is a main character because she's got a lot of contrast, she is black silhouette against white.?

P27 - 01:27黑色輪廓光對照白色背景。?

She is also have a single colour kind of the biggest spot in the frame.?

P27 - 01:33畫框中的焦點。?

That's why everything in this frame makes her as a main character.?

P27 - 01:39場景烘托這主角。?

But let's see if we can change this setup just by changing our light.?

P27 - 01:48改變燈光，改變場景設(shè)計。?

And once again, it's not physical. It's basically this color map painted on projected on this geometry. So that's why I like this matter that just so intensity you don't need to wait for anything. ?

P27 - 01:59keynote投射顏色圖。?

And let's just start scrolling this map like changing different things.?

P27 - 02:06滾動鼠標可以改變光。?

And as I slide across, you can see how many things they start changing. Like for example, she was a unique person with only red color.?

P27 - 02:16變化：從紅色的獨特角色。?

But now like for example, this is a completely different story. It is the same setting the same amount of people. But just because I changed the light now it became this frame. And the story is not about her, but about this everything in this frame.?

P27 - 02:36場景中其它人亮紅色，故事變了。?

these could be people like from the same client or these could be people are just about to departure somewhere.?

P27 - 02:47車展啟程人或同樣客戶群。?

And everybody looks the same they have a uniform. ?

P27 - 02:52看起來類似像是制服。?

Well, let's just keeps lighting this texture and see what we can get.?

P27 - 02:56改變材質(zhì)看看有什么變化。?

As I move, everything changes, the composition changes,?

P27 - 03:09合成內(nèi)容變化了，?

like it's not more about this girl because she doesn't have the strongest contrast.?

P27 - 03:14女孩不是焦點不是黑白對比分明。?

Even though she is bigger than the frame. Now it's probably about this guy because he has a lot of contrast.?

P27 - 03:20聚焦對比分明，而不是最大的。?

Or these two guys, That's just keep sliding and see what we can end up with. May be shifting the texture as well. ?

P27 - 03:37或者改變材質(zhì)。?

So now you see it's a completely different lighting setup.?

P27 - 03:40不同的燈光設(shè)置。?

Even though it's not a real light, it just changes everything. it's more like you can travel along the frame. You can look here and then go deeper. They look at this guy, look at these people. So within one picture, you start seeing more and more stories just by manipulating that line.?

P27 - 04:01改變線條可以看到更多變化。?

That's why When you all on SAT, there is a huge group of people who are responsible for lighting on the stage,?

P27 - 04:09一大堆人負責(zé)舞臺燈光。?

just because they want to do their best to tell the story that the director has in mind and let's just keep playing and see what we can end up having. ?

P27 - 04:22等效符合導(dǎo)演要的效果。?

Look at this now. Now it's more about these two guys, because or more even about this guy, because he is on composition wise. He's just perfectly placed. So this girl is dominant as well. But she's not the main hero anymore. She is fading. She's just blending into the rest of this crowd.?

P27 - 04:51沒有光影對比的，全息融入背景。?

So now it's all about this guy. And all I did is just the changing the light. That's why light is very, strong compositional instrument and tool.?

P27 - 05:06燈光是合成的工具。?

I did like a small screen grab of the stuff before. So let me just jump straight into it. Like for example, it was the same setting, but the way change the story. So before these girl was the main girl. But now we can see this three guys behind her.?

P27 - 05:30看到女孩，背后三個跟蹤者。?

They are also, for example, if you just rules some things unifying them. Now you understand that this is a story about this squad was the main girl.?

P27 - 05:43女孩是小分隊隊長。?

The leather of the squad, as these may be this this guy's last one of these guys next. And so far, so just by using different lighting and the same framing with the same camera angle and lens we got a completely different story.?

P27 - 06:02光 鏡頭視角有不同的故事。?

And imagine how many crazy in different versions you can get. So imagine how many different stories I can get by just using different lighting and telling those stories within one frame is so exciting. Like now I can see this like the story shifts towards these guys. Maybe these guys are doing something together over here.?

P27 - 06:48這些人都在一起。?

And it's all about light. And it doesn't necessarily need to be physical light.?

P27 - 06:55不一定是物理燈光。?

That's why as a concept artist, we've got the full power. We've got more power than even these guys on SAT. That's why they always keep asking us to change things because you could know we can prepare everything perfectly.?

P27 - 07:10提前實驗好，就可以精準布景。?

because we are in the virtual world and we can use anything.?

P27 - 07:15視覺特效可以用一切工具。?

You just use all mine and create different infinite amount of stories, just by using light.?

P27 - 07:24改變燈光創(chuàng)建不同的故事。?

Let me jump into to the next example, which will be So basically, what I did. I've got this same scene, but just different angle.?

P27 - 07:46下面是視角的案例。?

So we've got this setting. It's this girl walking and I'm using all those elements from a previous chapters about Camera lens,?

P27 - 08:15上一個章節(jié)是攝像角度。?

which I'm using a wide lens because I want to see less background mould up the field because it's more about how walking and I'm also using clicker low angle camera position. Just to emphasize that she is a dominant person in this frame.?

P27 - 08:30低角度拍攝烘托主角。?

And if I was doing like, for example, my abstract exercise which you did a lot. And in lesson two, the way it would look like. Like if I zoom out. It would look like very simple. Probably be something like this,?

P27 - 08:53縮略圖看起來很簡約。?

So this easy abstract shape could be turned into a very complicated and highly sophisticated and beautiful frame.?

P27 - 09:14抽象圖可以變成漂亮的劇照。?

If you know how to go from here to here. the reason why I was forcing you to do those abstract exercise is because abstract exercises, they are timeless.?

P27 - 09:36抽象畫訓(xùn)練的意義。?

You can fit any kind of story within these abstract change.?

P27 - 09:45無時限抽象加入時間不同故事。?

And I will show you how. Look, I took exactly three different like the same composition. And just by putting those extra details, I was able to tell different stories in a different time frame, time period.?

P27 - 10:14加入不同細節(jié)和燈光講述故事。?

Like this is a medieval kind of scenario. And there's a spears and we have a nice crown and stuff like that.?

P27 - 10:23比如中世紀的皇冠和長矛。?

This is more like hunger games, We've got military, we've got like cantonese and they are walking towards somewhere.?

P27 - 10:34像是獵人游戲一樣劇照。?

And this is more like a side story. This could be a mass effect, And it all started from that abstract shape. And from here, I wanna go back to something that I can't saying from the very first lesson. Remember I told you guys that. This was you. It's a long way between you towards your stories, And I told you this way looks like this. You've got principles which we are covering in every lecture. And we've got tools and techniques and practice. And then we actually have a fun part which is creative part.?

P27 - 11:49原則 技術(shù) 創(chuàng)作。?

So what I don't agree with that. I will keep always minimizing is this part. I think it's too long because it's a lifetime challenge.?

P27 - 12:02技術(shù)一生的挑戰(zhàn)?？s短時間成本。?

so my graph that I want to offer to you guys is looks, it has the same object on the same goal. What I really want to do is to minimize this gap, for tools technique and practice, make the gap of principles bigger. Because I think having strong principles will make you much more successful artist and the most important to make fun part, which is creative part, much larger chunk of what you're doing. ?

P27 - 12:53增大原則，縮小技術(shù)，增大創(chuàng)造。?

Because once you start to concentrate on creative part, your stories will be much better.?

P27 - 13:06創(chuàng)造性講故事技術(shù)提升。?

And how we will do this. And you can already see me doing it, like doing this abstract exercise this thing, you don't need to know perspective light shadow or anything. It's just very simple. ?

P27 - 13:19抽象畫不需要光影燈光。?

And then we will use different tools. Like for example, like I used 3D, I use freely to block out everything because all I wanted to concentrate on was the story or the creative part the fun part of it.?

P27 - 13:32專注在創(chuàng)作的部分。?

I wanna I enjoy designing things. it's all about design and storytelling. It's not about setting cameras. It's not about thinking about perspective, depth of field. I just wanna enjoy the fun part of it.?

P27 - 13:49不是持考慮攝像 角度 景深。?

Like for example, I will show you methods that will allow you to frame your picture. But still think purely about design and have the frame changing as you design things.?

P27 - 14:00劇情同框改變設(shè)計的事情。?

Because our main goal is to be creative. Like there are so many people who know tools who are very technical, who have like a crazy good skills in painting and drawing or modeling or anything but I think the most fun part is being creative.?

P27 - 14:21太多人擅長建模 插畫等。?

Because once again, it's about this bad guy. This bad guy in our head. Once that guy works. Basically, you have more value as an artist. And you have more freedom actually to do different ideas to play with multiple universities and just do tell your stories instead of trying to actually learn how to build them for 15 years and then have two years or three years to actually make things happen.?

P27 - 14:55節(jié)約獨立制片等時間成本。?

So that's all about cinematic principles. And in the next lesson, I would jump straight into these shortcuts that will allow you to be designing and thinking purely about story,?

P27 - 15:08直接設(shè)計故事。?

but still having everything framed properly and still having the freedom of changing angles and lighting as you go. As you design. So see you in the next one.

?

3. Storytelling and Composition II---2-1.Master Studies

P28 - 00:00?

Let’s move on and we’ll be doing some master studies this week. Before we move on, I wanted to share with you one of the principles that I keep following.?

P28 - 00:11分享一個經(jīng)常用的原則。?

What am I doing? Like master studies, like we all know that learning from masters, it is very important,?

P28 - 00:23學(xué)到技術(shù)精湛，非常重要。?

Like we do it since we were born when we were small as a kid, we were learning from our parents. They were all masters. Like we would ask questions and first we would just copy them. When we was a very small or just copy them, do whatever they do.?

P28 - 00:41小時候模仿父母。?

But once we become more intelligent, instead of coping, we are learning all those tools and starting using them as we want. And we become a unique person,? and no longer a copy of our parents. We are really nice fusion of our mom. And that's right. So our goal, everyone's goal as an artist to become a unique person.?

P28 - 01:13從模仿到做自己。?

So when it comes to masters. We do have a tendency to jump and copy everything. I know it myself, and I'm pretty sure most of you guys will recognize it. Like, let's see if there is a good guy around there, like being able to doing what we’re doing. Everybody loves Jamie Jones as a painter.?

P28 - 01:38比如大家都崇拜插畫界的偶像。?

This is brilliant guy, Jamie Jones as a hero and because he's so good. Everybody starts copying him. Like, which is great. He is a proper master of what he's doing. But what all we see, it's just like infinite amount of Jamie Jones copies. ?

P28 - 01:56復(fù)制高仿品。?

What I am saying. It's good to copy Jamie Jones. I did it myself. But instead of trying to copy him, go and find the person he was inspired by and tried to learn from him. Maybe he was obviously inspired by Craig mullins. ?

P28 - 02:16偶像的老師也給予啟發(fā)。?

Try to learn from this guy or maybe go even deeper. Craig Mullins was obviously inspired by John Sergeant. And instead of to trying to copy someone who is like living today with you and growing as an artist as well. Try to go and find the root source like go backwards.?

P28 - 02:44追溯到源頭活水。?

I'm pretty sure there was someone else who John Sergent who learn from. I'm not sure about timeline, but pretty sure he look up someone in the past. ?

P28 - 02:55追溯到大師受到啟發(fā)的線路。?

So if you can find this root material, because what these guys are a unique person. It is the fact that they cope its master. But they they adored that they found.?

P28 - 03:11從模仿到推陳出新。?

So when it comes to master studies, I always prefer to go deeper to find the root source, the main source of inspiration. And the deeper we dig, the more chance you have to find something very unique.?

P28 - 03:28追本溯源，才能發(fā)現(xiàn)大道至簡。?

So that's why this week we are not making studies of star wars. So like I love star wars like everybody loves star wars. ?

P28 - 03:36所以我們沒有從《星戰(zhàn)》開始聊。?

Not doing master studies of terminator are all like aliens. My favorite movies or not any of the recent movies. We going backwards. We're going back when people didn't have all the technology that allowed them to do crazy things. We're going back on, we're gonna study Free movies basically,?

P28 - 03:54我們學(xué)習(xí)沒這技術(shù)時候影視思路。?

I will give you an assignment. The first one will be citizen Kane. Second one will be seven samurai. the last one will be Ivan’s childhood.?

P28 - 04:15凱恩公民 七武士 童年。?

Because I think those movie completely utilize the idea of the time frame that I have for myself in order to build the stories. Because they didn't have much tools and technique. ?

P28 - 04:33那時候的影視沒有太多工具。?

All they have is a very good principal base designs. pace of principles. And they have less technical part because they didn't have those crazy cameras on cranes and all that stuff. That's why they were very creative.?

P28 - 04:59有原則 創(chuàng)作，相機起重機很少。?

And this is what we are aiming for. We’re aiming to be more creative. So yeah, let's start and do some master studies with you.?

P28 - 05:11開始學(xué)習(xí)大師杰作吧。?

And the way I want you to do master studies, I don't want you to paint anything.?

P28 - 05:16不用繪制劇照。?

this week is all about just thinking about those short design principles that I share with you.

?P28 - 05:22短小的設(shè)計原則。?

And analyze those frames. Pick up any one of those Free movies, citizen Kane, seven samurai, and Ivan’s childhood.?

P28 - 05:30從三個影視中取經(jīng)。?

And tries to analyze and actually support those principles with other stuff that you see. For example, let's start with this frame, like what I can see clearly. Remember I was telling you about that field. For example, if this was a modern concept art, you probably would like all of these guys in the foreground,?

P28 - 05:54前景觀眾。?

then we'll be out of focus. Because we know we need some foreground elements,?

P28 - 05:59前景需要虛焦。?

They love that stuff go and just blur everything like this. So if this was a modern concept, that would be probably like this.? In order to be very natural, if this one is a wide camera lens, because we're seeing a lot of background.?

P28 - 06:26廣景少景深。?

So it's why and we know less deal F. So basically, the way I want you to do these studies, pick up those frames and break them apart like these, analyze what kind of camera lens we are using how high our camera is pretty low because we want to show the power of this event over here. ?

P28 - 06:40視角放的很低，為了展示權(quán)利。?

There is something going on that we placed our camera pretty low. So if you analyze those low camera and light. What are we using as a line silhouette? Because all we want to see is this action over here. that would be enough for me if you spent like 10 minutes per frame taking those notes, drawing like emphasizing that seeing that the field trying to break those down.?

P28 - 07:10廣角 低焦距 低視角 輪廓。?

Let's seeing another frame.? Like for example, this one you can clearly see, we have really low camera over here.?

P28 - 07:17這劇照是低視角。?

Low camera because we want to emphasize the greatness and the power of this character. How about camera lens? We don't see a lot of background, which means it's probably long lens, Which is also supported by the amount of depth of field,?

P28 - 07:45少背景 長焦距 長景深。?

you see it over here. and lighting as well. Like there is a small light source coming from here just to emphasize to break him from the background that we're seeing here.?

P28 - 07:59背部有被打光。?

Any one of those frames will tell you the specific reasons why those guys used those cameras use those angles, use the positional lighting. Because once again, they didn't have all the technology. They didn't have this technological gap, which we trust on today. They only trusted the creative part and they only trust it, the fundamental knowledge and understanding. And these movies movies are brilliant. For example, take a look at citizen Kane. It's probably one of the most like graphic looking movies.?

P28 - 08:42過去在原則基礎(chǔ)上的劇照。?

Because the way it utilizes all the design principles. This is the second thing that I want you to analyze as well. use your knowledge from previous two lessons as well.?

P28 - 08:57融合前兩節(jié)課的原則。?

the way they used graphic design, for example, if you open the scene, this one over here, you see the way they use the zigzag composition that I was talking about. You can see it clearly over here. We've got zigzags that allow us look at the frame, ? And to have this really nice composition.?

P28 - 09:29之字形的合成場景。?

And if you can see that the perspective of the floor is like this. So we naturally having this zigzag form over here to help the composition. And just to improve the storytelling. ?

P28 - 09:42之字合成場景有助于講故事。?

And every one of these frames, for example, like this one as well, like. That's just align this front properly. So what are we having here? First, we're having a lot of depth of field, which means it's a long lens. It's not the wide lens.?

P28 - 10:08有景深，不是廣角鏡頭。?

And we see last deformations as well, nothing is deformed. Long lands, Mould up the field. See, this is the exact motion as well. So we're seeing all this frame, our eyes is travelling inside the frame.?

P28 - 10:47眼睛之字形游走在畫框內(nèi)。?

Contrast the way that you use contrast. For example, you have this guy. And you have light background against dark foregrounded,?

P28 - 11:02黑色輪廓白色背景。?

especially you can see it on this frame. Sorry for skipping it. But they're over here. You see the way the break of using just contrast and repetition, the break of this ? character. You can easily see him because this part is pretty bright. And the character himself was pretty dark.?

P28 - 11:23背景白色，角色黑色。對比鮮明。?

And these frames are amazing. Every frame in citizen Kane is just so beautiful at dawn. And it's all done by using Free basic core principle knowledge of composition and cinematic and principles and using a lot of creative solutions rather than relying on techniques, tools and whatever.?

P28 - 11:47過去創(chuàng)建影視沒過度炫技。?

And that's pretty much concludes our lesson number three. Now we have all the tools and all the knowledge cause start actually to storyteller stories and that's what we will be doing starting from a lesson number four. It’s pretty good one it’s an amazing experience for me. So see you next lesson number four. Thank you very much.?

?

3. Storytelling and Composition II---2-2.Homework1

P29 - 00:00?

Hello, guys. So this is the final chapter of lesson three. And it's basically your homework as well.?

P29 - 00:06三章最后一課家庭作業(yè)。?

So, this week I want you to do master studies and the way we will do it, our first step would be do an abstract study over your favorite frame from movies.?

P29 - 00:22從影視中學(xué)習(xí)抽象畫。?

We will pick up Free movies. As I said, citizen Kane. Seven samurai. And you can pick up the one that you like, and the one that you like, it doesn't matter. And Ivan’s childhood. ?

P29 - 00:48公民凱恩 七武士 伊凡的童年。?

Pick up those on the frames and make studies of the first step would be to do an abstract study on your frame and make sure when you do those studies, there is a very important thing to keep in mind. Don't copy the content like, don't look at this frame and say, oh, there was a guy standing here, the guy standing here, the guy standing here. No, squint your eyes and just copy the shapes. You see, like if I see those shapes. Instead of seeing the content.?

P29 - 01:33關(guān)注外形，而不是關(guān)注內(nèi)容。?

And once you see the shape, you'll end up with something like this. It's very abstract. You don't really know what it is.?

P29 - 01:41非常抽象被人看不懂。?

But that's the goal of this master case analysis. don't copy the content. And that's actually the main reason of the for doing those exercises. When we paint an abstract way, we are not thinking in terms of the content.?

P29 - 02:01不考慮內(nèi)容。?

This could be a person, But then we we can develop this one. And it could be actually a statue, A big statue and a small person over here. So it's all about these abstract shapes that we want to learn,?

P29 - 02:17都是學(xué)到的抽象的人物。?

seeing and looking at master studies is the best way to do it. So first pick up those in the frame. So let's say 12 frames. And it will end up being like two frames per day or something like that. Make an abstract analysis of that.?

P29 - 02:37比如每天訓(xùn)練兩幀。?

And then analyze in terms of short design. So check your camera lenses. Check your camera location and see analyze the light as well. ?

P29 - 02:58鏡頭 攝像 燈光。?

And the 3rd step would be is to see the graphic design and see how we use the contrast. And how they use repetition to tell their stories.?

P29 - 03:20第三步通過對照 重復(fù)來觀察。?

So that's basically summarize would be covered in lesson one two and three. because from lesson four, we'll start actually telling our own stories.?

P29 - 03:30從課程四開始講述故事。?

That's why it's really important to understand all these principles before we dive in and start visualizing our own story.?

P29 - 03:37視覺化自己的故事。?

So 12 is a good number, but if you have more time, 12 span make like to make 24 of those because I really don't want you to be very fast. What I really want to make is a very forceful, deep analysis of each one of those frames.?

P29 - 03:59每一幀都有自己的構(gòu)思。?

So you can spend your time, at least on 12 of those love. I would really appreciate it. If you do more, will be even more that for you. All right, guys. that's our summarize lesson number three. And I wish you good luck. And really looking forward to seeing stuff from you. Thank you very much.

?

3. Storytelling and Composition II---2-3.Homework2

P30 - 00:00?

So our homework number two for these lessons would be actually a really fun thing to do. We will take one of the abstract compositions that you guys created for lesson number two.?

P30 - 00:14給課程二創(chuàng)建的抽象合成。?

And we will develop different stories. Because, as I said, these are abstract compositions. They are timeless.?

P30 - 00:22抽象畫 無時限。?

They don't have any subject as well. All they care about in this abstract composition was the graphic design.?

P30 - 00:30非主觀的圖形設(shè)計。?

And once we have a good graphic designer, then it's time to take it to the next level. ?

P30 - 00:38帶到下一階段。?

As you can see here just introducing those minor things. I was able to create different stories in different times with different subjects.?

P30 - 00:46不同時間段不同配飾講不同故事。?

So what I want you to do as well as take those frames and start basically introducing different themes.?

P30 - 00:56不同的畫框講述不同故事。?

It should be a fairly simple thing to do. All you need to do is just to change a few things here and there.?

P30 - 01:08只需要做出小的改變。?

for example, if this was a wild west or. You would just introduce a little bit of different guns. And you will have cowboy story. ?

P30 - 01:33比如更換武器，牛仔男孩的故事。?

She could be sharing. the same with these ones, just by introducing. could be a story about a native Americans. So very, very small changes. But they impact your story dramatically.?

P30 - 02:47小改變，故事就變了。?

That's why abstraction is very powerful, because it lets you see different things in the same forms. ?

P30 - 02:54看似同樣的形狀，不同的故事。?

So your homework number two would be. Again, on a daily basis, pick one of your abstract compositions and do at least three different stories like I did here on 3 on in and it literally takes 5 to 10 minutes to do one frame. So you would say he would spend half an hour extra everyday, but you will create a lot of different stories by the end of the week.?

P30 - 03:30三組故事，每組5-10分創(chuàng)建。?

I hope these guys was helpful. And if you have any questions, feel Free to ask you on Facebook or on our slack chats. And thank you very much.

?

4. Painting Methods---1-1.Lesson Overview

P31 - 00:00?

Hello everybody, welcome to lesson number four. So this lesson we will be talking about painting methods.?

P31 - 00:08第4課講述繪制方法。?

As you know, there are different approaches and different people use different tools and different brushes and different kind of methods of using Photoshop and digital painting overalls.?

P31 - 00:21繪制工具 刷子 等不同方案。?

So I will try to break those down. And to give you examples for each kind of painting method. And what I'm aiming to have at the end of the this particular lesson that you will have very precise picture full whatever method fits you.?

P31 - 00:40找到適合你的方案。?

you will see all the stuff I'm doing. And I will support all of those with my thoughts and ideas behind every method. And you will kind of figure out which one fits you.?

P31 - 00:50觀千器而后識劍。?

So overall, there is this kind of basic principle between painting approaches.?

P31 - 01:00繪制方案的基本原則。?

The first group will be abstract, which is suggestive way of painting.?

P31 - 01:07首先建議的抽象繪制。?

And the second one will be precise, which is more like a statement.?

P31 - 01:11第二步精準的敘述狀態(tài)。?

and so far what we really deeply kind of explored a lot of this guy, We did a lot of abstract exercises and suggested things when we would paint something and we would see something.?

P31 - 01:24抽象繪制的建議是看到什么。?

And now I think it's time to support it with a little bit of precise kind of painting methods, which will be more about design heavy stuff.?

P31 - 01:33第二步驟設(shè)計繪制方案。?

And and which one is better? Like this one and this one. It's not a matter of question even, because both of these guys, they complement each other. We will constantly keep jumping between this one and this one.?

P31 - 01:48兩個互補的。?

Like let’s do something very abstract to set our mind Free to kind of keep our creative process going.?

P31 - 01:56正循環(huán)保證創(chuàng)作力的流淌。?

And then we will support it with some precise statement kind of strokes to reinforce everything to make our design a much stronger than our ideas and stories much stronger.?

P31 - 02:09讓設(shè)計 思維 故事更強大。?

So yeah, there's a lot to cover. I'm very excited about it. And let's get started.?