WEBVTT 1 00:00:04.557 --> 00:00:10.527 Animation Advanced Action Layout 2 00:00:10.527 --> 00:00:12.893 GCC Academy 3 00:00:24.320 --> 00:00:25.270 Hello 4 00:00:25.270 --> 00:00:28.505 I am Jiwon Kang, and I am in charge of the action drawing session 5 00:00:28.505 --> 00:00:32.445 In this session, we will learn about layout 6 00:00:32.445 --> 00:00:37.000 First, we will learn about the concept of layout and the types of screens 7 00:00:37.000 --> 00:00:41.436 Then, we will learn how to emphasize points on the screen 8 00:00:41.436 --> 00:00:43.936 Finally, we will learn to draw the layout 9 00:00:43.936 --> 00:00:47.366 while croquising the video screen 10 00:00:47.598 --> 00:00:51.241 Layout Concepts and Types 11 00:00:52.000 --> 00:00:55.000 Layout is the design of the screen 12 00:00:55.000 --> 00:00:57.300 Even if you have excellent drawing skills and techniques 13 00:00:57.300 --> 00:01:00.600 if you neglect the layout, the charm of the drawing and the technique 14 00:01:00.600 --> 00:01:02.812 will not be noticeable 15 00:01:02.812 --> 00:01:06.212 Even if you draw hard, it is not noticeable, and when you feel something is lacking 16 00:01:06.212 --> 00:01:08.792 you should check the layout 17 00:01:08.792 --> 00:01:13.000 Layout is a technique for systematically arranging content 18 00:01:13.000 --> 00:01:17.250 Like design, readability is the most important functional reason 19 00:01:17.250 --> 00:01:20.000 and the next is the delivery of the message 20 00:01:20.000 --> 00:01:23.750 If readability is good, it will naturally catch the eye like a video 21 00:01:23.750 --> 00:01:27.000 without having to try hard to observe it 22 00:01:27.000 --> 00:01:30.500 The layout should make important information visible 23 00:01:30.500 --> 00:01:33.600 and naturally guide what to look at 24 00:01:33.600 --> 00:01:36.000 and what to look at next 25 00:01:36.000 --> 00:01:40.000 This is what you have to do first 26 00:01:40.000 --> 00:01:43.800 Even if you look at the example layouts 27 00:01:43.800 --> 00:01:48.829 each person will see the same thing first 28 00:01:48.829 --> 00:01:54.298 and the same thing later 29 00:01:54.298 --> 00:01:56.548 regardless of which screen or object 30 00:01:56.548 --> 00:01:58.983 is visible first 31 00:01:58.983 --> 00:02:01.120 and what is naturally visible next 32 00:02:01.120 --> 00:02:06.475 This is the design of the layout 33 00:02:06.475 --> 00:02:10.120 The second reason for the layout is the beauty of the image 34 00:02:10.120 --> 00:02:11.959 It is also called mise-en-scène 35 00:02:11.959 --> 00:02:17.509 Even if it is not a video, the beauty of the screen or canvas itself 36 00:02:17.509 --> 00:02:20.200 comes from the composition 37 00:02:20.200 --> 00:02:23.520 If the composition is interesting, the picture becomes interesting 38 00:02:23.520 --> 00:02:29.584 A special layout is bound to arouse curiosity 39 00:02:29.599 --> 00:02:34.499 If the fourth scene, with the soldiers here 40 00:02:34.499 --> 00:02:37.817 had been shot completely from the front 41 00:02:37.817 --> 00:02:42.933 would the gaze have been drawn? 42 00:02:42.933 --> 00:02:48.033 Or if the ballerina in the front 43 00:02:48.033 --> 00:02:55.126 had been in the same position as the other ballerinas behind her 44 00:02:55.126 --> 00:03:01.609 would it have been this interesting? 45 00:03:01.609 --> 00:03:05.800 When a good layout is used, it evokes an emotional response 46 00:03:05.800 --> 00:03:09.500 The nuance of the line that I mentioned, which leads to 47 00:03:09.500 --> 00:03:12.550 the character of the line and gesture drawing 48 00:03:12.550 --> 00:03:15.480 continues to the layout 49 00:03:15.480 --> 00:03:19.330 As in the example, all lines give a sense of anxiety in the diagonal line 50 00:03:19.330 --> 00:03:22.530 and a sense of stability in the horizontal line 51 00:03:22.530 --> 00:03:26.120 and the layout does the same 52 00:03:26.120 --> 00:03:29.970 Also, the arrangement of what to show first 53 00:03:29.970 --> 00:03:34.170 and what to show later through the flow of the gaze 54 00:03:34.170 --> 00:03:39.506 can have an effect similar to the plot of the image 55 00:03:39.506 --> 00:03:42.206 What is shown first and what is shown later 56 00:03:42.206 --> 00:03:46.606 what appears first and what appears later 57 00:03:46.606 --> 00:03:49.880 these are similar effects 58 00:03:49.880 --> 00:03:54.180 Also, through these lines, through the lines on this layout 59 00:03:54.180 --> 00:03:57.279 you can know what points to focus on and what to omit 60 00:03:57.279 --> 00:04:00.679 You can reduce unnecessary work on the picture 61 00:04:00.679 --> 00:04:03.379 if the layout is good 62 00:04:03.379 --> 00:04:06.360 it becomes much easier to organize later 63 00:04:06.360 --> 00:04:11.310 If the picture is not organized even if you describe everything one by one 64 00:04:11.310 --> 00:04:16.160 from that layout, that canvas, and that end to this end 65 00:04:16.160 --> 00:04:19.800 it is not enough 66 00:04:19.800 --> 00:04:22.550 However, if the composition has strong and weak points 67 00:04:22.550 --> 00:04:26.150 you can describe more in the parts you want to emphasize strongly 68 00:04:26.150 --> 00:04:29.200 and you can lighten the parts you want 69 00:04:29.200 --> 00:04:31.119 to omit more 70 00:04:31.119 --> 00:04:35.297 Then, you can draw an efficient picture 71 00:04:38.199 --> 00:04:43.156 Let's take a look at the layouts one by one 72 00:04:43.160 --> 00:04:45.560 First is the split composition 73 00:04:45.560 --> 00:04:49.679 The split composition is a composition that divides the screen into two parts 74 00:04:49.679 --> 00:04:54.478 You can create visual balance symmetrically 75 00:04:54.478 --> 00:04:57.928 or emphasize one side more asymmetrically 76 00:04:57.928 --> 00:05:00.279 to guide the gaze 77 00:05:00.279 --> 00:05:04.179 In the case of the first scene, the symmetry is off 78 00:05:04.179 --> 00:05:08.165 So, you first see the side where the person is close-up like this 79 00:05:08.165 --> 00:05:13.327 and then naturally see the back 80 00:05:13.327 --> 00:05:19.279 Also, if you place important elements in the center, your eyes will be focused 81 00:05:19.279 --> 00:05:22.479 In this scene, the third and fourth pictures below 82 00:05:22.479 --> 00:05:24.639 would be relevant 83 00:05:24.639 --> 00:05:28.689 This split composition can be divided into two like this 84 00:05:28.689 --> 00:05:31.919 or have a feeling of center alignment 85 00:05:31.919 --> 00:05:35.669 Strictly speaking, the former composition, which is divided into two 86 00:05:35.669 --> 00:05:38.360 is called a split screen in English 87 00:05:38.360 --> 00:05:41.360 and it focuses more on showing different scenes 88 00:05:41.360 --> 00:05:44.360 or creating a sense of balance through symmetry 89 00:05:44.360 --> 00:05:51.200 In this case, the two pictures at the top are relevant 90 00:05:51.200 --> 00:05:53.400 Important things are not in the center 91 00:05:53.400 --> 00:05:57.880 but exist on both sides like this 92 00:05:57.880 --> 00:06:00.680 If the center is divided or symmetrical like this 93 00:06:00.680 --> 00:06:03.530 giving the feeling that the screen is divided in half 94 00:06:03.530 --> 00:06:05.440 it is a split screen 95 00:06:05.440 --> 00:06:09.623 It is often used in directing when showing different scenes 96 00:06:09.623 --> 00:06:11.119 Now, the latter 97 00:06:11.119 --> 00:06:14.569 The composition where the object exists in the middle 98 00:06:14.569 --> 00:06:20.371 is called the central composition 99 00:06:20.371 --> 00:06:23.321 or the inverted Y composition 100 00:06:23.321 --> 00:06:25.921 This means the inverted Y 101 00:06:25.921 --> 00:06:31.559 a composition where the object is in the center 102 00:06:31.559 --> 00:06:34.959 and the triangle below the inverted Y 103 00:06:34.959 --> 00:06:39.559 If you first understand the two-part composition, it is easy to understand 104 00:06:39.559 --> 00:06:43.993 If the important element is in the middle, it also affects center alignment 105 00:06:46.745 --> 00:06:49.695 Next is the third-part composition 106 00:06:49.695 --> 00:06:56.495 After dividing the screen into three parts horizontally and vertically so that there are 107 00:06:56.495 --> 00:07:02.334 nine squares in total, the main element is the intersection 108 00:07:02.334 --> 00:07:05.065 That is, the second picture is displayed 109 00:07:05.065 --> 00:07:09.239 This is the intersection where the horizontal and vertical lines overlap 110 00:07:09.239 --> 00:07:11.839 It is the most basic arrangement 111 00:07:11.839 --> 00:07:14.989 Even if it is not located at the intersection, many screens 112 00:07:14.989 --> 00:07:19.160 can be divided into three parts if they leave appropriate margins above and below 113 00:07:19.160 --> 00:07:21.410 When you take a composition that is neither 114 00:07:21.410 --> 00:07:24.910 too centered nor too far to the edge 115 00:07:24.910 --> 00:07:28.937 create 1/3 naturally 116 00:07:28.937 --> 00:07:33.289 I mean 117 00:07:33.289 --> 00:07:37.805 this or this point 118 00:07:37.805 --> 00:07:42.855 Forming the rule of thirds is natural 119 00:07:42.855 --> 00:07:45.959 because it creates important lines at these points 120 00:07:45.959 --> 00:07:49.809 That is why it is often called the Rule of Thirds in English 121 00:07:49.809 --> 00:07:56.467 and acts as an essential rule beyond composition 122 00:07:56.467 --> 00:08:01.917 How important is this? This grid of thirds is drawn 123 00:08:01.917 --> 00:08:05.980 when we take pictures with our cell phones 124 00:08:05.980 --> 00:08:12.584 That means it is a very basic screen composition 125 00:08:12.584 --> 00:08:14.634 Next is the horizontal composition 126 00:08:14.634 --> 00:08:19.049 The screen is divided into equal parts by dividing it lengthwise 127 00:08:19.049 --> 00:08:23.299 and this division is formed horizontally 128 00:08:23.299 --> 00:08:25.693 That is why it feels stable 129 00:08:25.693 --> 00:08:28.143 A straight line that is spread out horizontally 130 00:08:28.143 --> 00:08:30.901 is originally a line that feels stable 131 00:08:30.901 --> 00:08:40.564 That is why it is stable, so it expresses a static atmosphere 132 00:08:40.564 --> 00:08:48.000 and like the first or second, it expresses a sense of space 133 00:08:52.584 --> 00:08:57.515 Because it is straight, a wide horizon matches 134 00:08:57.515 --> 00:09:02.544 However, this also matches, but the effects that can be felt in the division composition 135 00:09:02.544 --> 00:09:06.694 such as the sense of balance due to symmetry and the guidance of the gaze due to asymmetry 136 00:09:06.694 --> 00:09:08.683 can also be expressed here 137 00:09:12.436 --> 00:09:15.636 In the two scenes above, the background 138 00:09:15.636 --> 00:09:18.564 takes up the upper part of the divided part 139 00:09:18.564 --> 00:09:22.000 This is a method often used in horizontal compositions 140 00:09:22.000 --> 00:09:25.450 Even if it is not a horizontal line 141 00:09:25.450 --> 00:09:28.850 it is most stable when about half of the edge of the screen 142 00:09:28.850 --> 00:09:31.000 is the background or empty 143 00:09:34.624 --> 00:09:36.723 Next is diagonal composition 144 00:09:36.723 --> 00:09:40.923 Unlike other straight compositions, diagonal compositions 145 00:09:40.923 --> 00:09:43.861 are diagonal and give dynamism 146 00:09:43.871 --> 00:09:47.574 Diagonal lines are tense because they are unstable 147 00:09:47.584 --> 00:09:53.396 Tension is also connected to dynamic energy 148 00:09:53.396 --> 00:09:56.096 Because it is connected to dynamic energy 149 00:09:56.096 --> 00:10:03.168 the gaze is guided to move dynamically without stopping 150 00:10:03.168 --> 00:10:07.168 This is where the guidance of the gaze is different from 151 00:10:07.168 --> 00:10:11.346 straight, vertical, and horizontal compositions 152 00:10:11.346 --> 00:10:14.594 Diagonal lines are basically tilted rather than vertical and horizontal 153 00:10:14.594 --> 00:10:16.394 When standing upright, the field of vision 154 00:10:16.394 --> 00:10:18.744 is always horizontal and vertical 155 00:10:18.744 --> 00:10:21.644 so diagonal lines assume situations where I cannot stand upright 156 00:10:21.644 --> 00:10:24.436 such as when I move or my body tilts 157 00:10:24.436 --> 00:10:28.277 That is why they create a sense of unease and tension 158 00:10:28.277 --> 00:10:32.416 The 'Titanic' on the lower left is a famous disaster movie 159 00:10:32.416 --> 00:10:35.166 So, to add to the tension of the genrㄷ 160 00:10:35.166 --> 00:10:37.762 an oblique composition was used 161 00:10:37.762 --> 00:10:40.162 Also, as I mentioned 162 00:10:40.162 --> 00:10:43.198 tension can be dynamic energy 163 00:10:43.208 --> 00:10:47.752 Compositions with action shine more in an oblique line 164 00:10:47.752 --> 00:10:51.653 Also, as I mentioned, the flow of sight is naturally induced 165 00:10:52.307 --> 00:10:55.654 Now, if you look at the Lion King scene 166 00:10:55.654 --> 00:11:03.434 on the lower right 167 00:11:03.434 --> 00:11:06.284 the first thing you see is 168 00:11:06.284 --> 00:11:13.000 the monkey on the top, and as you read it 169 00:11:13.000 --> 00:11:15.750 As your gaze naturally flows like this 170 00:11:15.750 --> 00:11:18.693 you see the lion and your parents behind it 171 00:11:20.683 --> 00:11:23.356 Next is a diagonal composition 172 00:11:23.356 --> 00:11:27.139 This is a composition where two diagonal lines intersect to form an X 173 00:11:27.139 --> 00:11:31.525 and your gaze is sucked toward the vanishing point 174 00:11:31.525 --> 00:11:36.000 This is the most basic composition used in a one-point perspective 175 00:11:36.000 --> 00:11:41.050 These are also overlapping oblique lines 176 00:11:41.050 --> 00:11:47.000 forming vertical and horizontal lines at the end 177 00:11:47.000 --> 00:11:52.000 From a 1-point perspective 178 00:11:52.000 --> 00:11:57.000 everything except the inward lines is vertical and horizontal 179 00:11:57.000 --> 00:12:01.850 Therefore, it provides balance and stability 180 00:12:01.850 --> 00:12:07.000 that vertical and horizontal lines can provide 181 00:12:07.000 --> 00:12:11.148 And this wide sense of space behind is emphasized 182 00:12:11.148 --> 00:12:13.648 Since a 1-point perspective is mainly used 183 00:12:13.648 --> 00:12:17.762 it gives an artificial feeling due to the vertical lines 184 00:12:17.762 --> 00:12:21.312 This gives a balanced and stable feeling 185 00:12:21.312 --> 00:12:24.312 but at the same time, it also gives an artificial, cold, stiff 186 00:12:24.312 --> 00:12:27.000 and solemn atmosphere 187 00:12:27.000 --> 00:12:30.200 Since the line of sight is directed toward the vanishing point or the intersection 188 00:12:30.200 --> 00:12:38.515 the line of sight is focused on the center element like this 189 00:12:38.515 --> 00:12:40.891 Next is the triangular composition 190 00:12:40.891 --> 00:12:44.141 This refers to the shape of the screen elements 191 00:12:44.141 --> 00:12:47.000 in the shape of a triangle or arranged in such a way 192 00:12:47.000 --> 00:12:54.000 Naturally, the rest of the triangle will have a margin like this 193 00:12:54.000 --> 00:13:00.436 Because of the creation of the natural margin, the flow of sight is harmonious 194 00:13:00.436 --> 00:13:03.786 Now, in the case of large and small objects 195 00:13:03.786 --> 00:13:07.228 the line of sight flows from the bottom to the top 196 00:13:07.228 --> 00:13:14.000 If you look here, there is one large layer like this 197 00:13:14.000 --> 00:13:17.150 and then this small layer on this side 198 00:13:17.150 --> 00:13:21.396 forming a triangular composition 199 00:13:21.396 --> 00:13:24.746 In this case, this wide 200 00:13:24.746 --> 00:13:29.000 and large thing flows from the bottom to the top 201 00:13:29.000 --> 00:13:37.218 In this case, where the perspective is felt 202 00:13:37.218 --> 00:13:43.368 this is similar to the diagonal composition from before 203 00:13:43.368 --> 00:13:48.317 so the perspective line flows from this side to this side 204 00:13:48.317 --> 00:13:55.544 So, the line of sight is focused on the top vertex 205 00:13:55.544 --> 00:14:01.844 Also, the line of sight is now gathered in the center 206 00:14:01.844 --> 00:14:04.812 when this acts as a frame like this 207 00:14:10.594 --> 00:14:14.394 The triangle can be a silhouette of an object like the first one 208 00:14:14.394 --> 00:14:19.000 A line according to size and position like the second scene 209 00:14:19.000 --> 00:14:23.977 A case where the margin and line of sight are gathered at the vertex like the third one 210 00:14:23.987 --> 00:14:27.000 Or it can act as a frame like the fourth one 211 00:14:27.000 --> 00:14:30.000 That much can lead to various lines of sight 212 00:14:30.000 --> 00:14:42.346 and the line of sight flows or focuses on one of these three points 213 00:14:42.346 --> 00:14:47.000 the top and bottom of the vertex or the center 214 00:14:47.000 --> 00:14:51.505 The common effect is a stable screen 215 00:14:51.505 --> 00:14:54.855 The fact that the bottom is wider and gets smaller 216 00:14:54.855 --> 00:14:59.555 as it goes up is a visual characteristic of this triangle 217 00:14:59.555 --> 00:15:04.574 This equilateral triangle allows for stable support without falling over 218 00:15:04.574 --> 00:15:07.198 That is why it is also visually like that 219 00:15:07.931 --> 00:15:11.594 Types of Cuts and Rules for Layout Composition 220 00:15:12.703 --> 00:15:15.584 Next, let's learn about the types of shots 221 00:15:15.584 --> 00:15:22.435 A shot is the basic unit of filming 222 00:15:22.435 --> 00:15:27.135 Since the camera is usually fixed when filming 223 00:15:27.135 --> 00:15:30.109 the most important factor in distinguishing shots 224 00:15:30.109 --> 00:15:34.614 is the size of the elements within the subject 225 00:15:34.614 --> 00:15:40.346 Most of the elements are people in the video 226 00:15:40.346 --> 00:15:47.049 Therefore, the nature of the scene is largely determined 227 00:15:47.049 --> 00:15:55.237 by which part of the person is filmed, how much, and to what extent 228 00:15:55.237 --> 00:15:59.703 This is a filming term, but the effect is the same in pictures 229 00:15:59.703 --> 00:16:02.603 I will briefly introduce what effects can be achieved 230 00:16:02.603 --> 00:16:06.465 depending on how large a person is contained in a scene 231 00:16:06.465 --> 00:16:09.861 Let's start with the closest one 232 00:16:09.861 --> 00:16:14.109 Extreme close-up 233 00:16:14.109 --> 00:16:18.309 This shot enlarges and shows a part of the person's face 234 00:16:18.309 --> 00:16:22.287 or a specific part of the body, such as the hands 235 00:16:22.287 --> 00:16:25.000 It looks like the expression of emotion is maximized 236 00:16:25.000 --> 00:16:31.000 It is often used to maximize tension or show emotions in detail 237 00:16:31.000 --> 00:16:35.376 This type of shot is often used when acting with eyes 238 00:16:35.376 --> 00:16:38.880 It is especially impressive in pictures 239 00:16:38.880 --> 00:16:42.000 when the eyes, mouth, and hands are drawn in detail 240 00:16:42.000 --> 00:16:46.584 It goes without saying that it is also used in cartoons 241 00:16:46.584 --> 00:16:50.277 Next is a close-up shot 242 00:16:50.277 --> 00:16:54.000 This is a shot that focuses on the entire face of the person 243 00:16:54.000 --> 00:16:59.851 This is also used a lot to express the emotions of the person 244 00:16:59.851 --> 00:17:02.024 When communicating with people 245 00:17:02.024 --> 00:17:05.000 focusing on the other person's face is common 246 00:17:05.000 --> 00:17:09.850 So, this composition is often used when 247 00:17:09.850 --> 00:17:13.733 dealing with everyday communication 248 00:17:13.733 --> 00:17:17.792 If there is no particular effect, most people often use this composition 249 00:17:17.792 --> 00:17:25.000 The face is often used as a reflection of the impression in the entire picture 250 00:17:25.000 --> 00:17:28.900 No matter how detailed and pretty the picture is 251 00:17:28.900 --> 00:17:36.000 people now look for the face first 252 00:17:36.000 --> 00:17:39.842 No matter how many details and how great they are 253 00:17:39.842 --> 00:17:42.269 drawing only the face is the easiest 254 00:17:42.269 --> 00:17:43.544 and most fun 255 00:17:43.544 --> 00:17:48.346 and difficult thing for most people who draw pictures 256 00:17:48.346 --> 00:17:53.940 That is why many people draw only the head and face 257 00:17:53.940 --> 00:17:56.594 Next is a medium shot 258 00:17:56.594 --> 00:17:59.851 This includes the person's waist and thighs 259 00:17:59.851 --> 00:18:04.301 Now, this is the composition that shows 260 00:18:04.301 --> 00:18:06.257 the actions, hands, arms, gestures 261 00:18:06.257 --> 00:18:08.340 In addition, the surrounding environment is 262 00:18:08.340 --> 00:18:11.851 now open to both sides 263 00:18:11.851 --> 00:18:17.801 Since the surrounding environment can be seen in general 264 00:18:17.801 --> 00:18:20.663 it is a composition that is often chosen 265 00:18:20.663 --> 00:18:24.213 This cut is often used as a routine 266 00:18:24.213 --> 00:18:26.000 and safe close-up 267 00:18:26.000 --> 00:18:29.475 so it is often used in a flat composition with no special angle 268 00:18:29.475 --> 00:18:32.225 There are no special high angles 269 00:18:32.225 --> 00:18:35.495 low angles, or anything like that 270 00:18:35.495 --> 00:18:37.842 Next is a full shot 271 00:18:37.842 --> 00:18:40.188 The whole body of the character is captured 272 00:18:40.188 --> 00:18:43.044 The character and the surrounding environment are captured 273 00:18:43.044 --> 00:18:45.000 so the character's position is well recognized 274 00:18:45.000 --> 00:18:48.800 Now, since the feet are visible, you can see where the character is standing 275 00:18:48.800 --> 00:18:51.772 and how he is standing 276 00:18:51.772 --> 00:18:57.672 It is also used often 277 00:18:57.672 --> 00:19:01.683 when there is an active action scene, so it is good to capture the whole body 278 00:19:01.683 --> 00:19:07.030 Now, when there is intense movement, such as action or dancing 279 00:19:07.030 --> 00:19:09.780 if the body that moves is cut off 280 00:19:09.780 --> 00:19:12.000 the movement will be cut off 281 00:19:12.000 --> 00:19:14.950 So, this shot is used a lot because 282 00:19:14.950 --> 00:19:19.346 the effect is often halved 283 00:19:19.346 --> 00:19:22.396 If this shot is on a widescreen 284 00:19:22.396 --> 00:19:26.158 if the actual character ratio of 7 heads is included 285 00:19:26.158 --> 00:19:29.208 as you can see now, the face 286 00:19:29.208 --> 00:19:32.000 is not easily visible at once 287 00:19:32.000 --> 00:19:35.257 So it is not used often 288 00:19:35.257 --> 00:19:39.907 But now, in the case of animations where the main character 289 00:19:39.907 --> 00:19:42.515 is 3 or 4 heads tall or shorter 290 00:19:42.515 --> 00:19:46.313 the entire body is captured, the facial expressions are clearly visible 291 00:19:46.313 --> 00:19:50.534 and even the surrounding background and distance from surrounding characters 292 00:19:50.534 --> 00:19:55.426 are captured perfectly 293 00:19:55.426 --> 00:19:57.556 so everything is appropriate 294 00:19:57.556 --> 00:20:03.049 and so it is a cut that is secretly used more in animations than in live action 295 00:20:03.049 --> 00:20:06.931 Next, the camera moves further back, right? It’s a long shot 296 00:20:06.931 --> 00:20:09.931 It shows the person and the surroundings from afar 297 00:20:09.931 --> 00:20:12.851 The scale of the background becomes more emphasized 298 00:20:12.851 --> 00:20:17.247 Now, it starts to look more like the background than the person 299 00:20:17.247 --> 00:20:21.356 On the contrary, the person will look small and weak 300 00:20:21.356 --> 00:20:26.488 It is also often used to show the foreground 301 00:20:26.488 --> 00:20:28.838 Now, the master shot 302 00:20:28.838 --> 00:20:33.485 is the first shot that shows 303 00:20:33.485 --> 00:20:37.515 what kind of background this is 304 00:20:37.515 --> 00:20:42.376 In all works, the master shot is used a lot 305 00:20:42.386 --> 00:20:45.186 In addition, when it is shot from further away 306 00:20:45.186 --> 00:20:47.475 the surroundings look extreme 307 00:20:47.475 --> 00:20:50.375 the person looks very small 308 00:20:50.375 --> 00:20:54.535 and the surroundings look extremely vast 309 00:20:54.535 --> 00:20:56.035 so the background becomes the main focus 310 00:20:56.035 --> 00:21:00.247 These are shots called extreme long shots 311 00:21:04.000 --> 00:21:09.000 Next, we will learn a little about emphasizing points within the screen 312 00:21:09.000 --> 00:21:14.643 The composition and rules of photography and video are also used in paintings 313 00:21:14.643 --> 00:21:18.000 When drawing, there are many cases where things are not organized 314 00:21:18.000 --> 00:21:21.000 In such cases, some elements are good to check 315 00:21:21.000 --> 00:21:23.900 In particular, the guidance of the gaze 316 00:21:23.900 --> 00:21:26.643 often used in video screens' grammar, is important for change 317 00:21:26.643 --> 00:21:31.910 The more changes there are in the internal elements, and rhythm 318 00:21:31.910 --> 00:21:35.436 the more the gaze is naturally guided, and the path of the picture is formed 319 00:21:38.406 --> 00:21:42.436 Even without a path, a picture can feel static 320 00:21:42.436 --> 00:21:45.826 However, if not organized, it is very likely to become 321 00:21:45.826 --> 00:21:50.624 a messy picture and a picture that never ends 322 00:21:50.624 --> 00:21:54.406 The example shows a picture that is often difficult to organize 323 00:21:54.406 --> 00:21:59.000 On the left, Before has objects A, B, and C 324 00:21:59.000 --> 00:22:03.150 And even if you draw all the people in detail 325 00:22:03.150 --> 00:22:06.733 it will never be complete 326 00:22:06.733 --> 00:22:11.079 On the right is an example of an improved layout 327 00:22:11.079 --> 00:22:13.429 Let's look at how to organize a picture 328 00:22:13.429 --> 00:22:16.525 one by one through the layout elements 329 00:22:20.238 --> 00:22:21.901 First is the composition 330 00:22:24.158 --> 00:22:27.908 We discussed the lines representing 331 00:22:27.908 --> 00:22:29.625 the screen and shapes 332 00:22:29.625 --> 00:22:36.713 like triangles or diagonal lines 333 00:22:36.713 --> 00:22:41.099 It would be good to form a large composition with these 334 00:22:41.099 --> 00:22:45.249 The composition should be expressed 335 00:22:45.249 --> 00:22:47.535 as simple shapes connected by lines 336 00:22:47.535 --> 00:22:52.614 Since the lines in the composition are the flow of sight 337 00:22:52.614 --> 00:22:56.000 important things should not be outside the lines 338 00:22:56.000 --> 00:22:57.700 It is better to leave 339 00:22:57.700 --> 00:23:02.089 the outside of the lines empty or not place important elements 340 00:23:02.089 --> 00:23:04.852 Of course, it depends on the nature of the composition 341 00:23:04.852 --> 00:23:08.495 I organized this picture by borrowing the diagonal composition 342 00:23:08.495 --> 00:23:10.595 I said the sight flows more naturally 343 00:23:10.595 --> 00:23:13.109 in the diagonal composition than in vertical and horizontal lines 344 00:23:13.109 --> 00:23:18.733 So, it gives a little more liveliness than the basic frontal arrangement 345 00:23:18.733 --> 00:23:22.433 In the case of the example, the important elements of the diagonal line that serve as a guide 346 00:23:22.433 --> 00:23:28.931 such as the face, head, A, B, and C, were arranged 347 00:23:28.931 --> 00:23:33.000 And the upper part of the diagonal line that does not pass was left as a margin 348 00:23:33.000 --> 00:23:36.550 and the body, which originally existed as a large mass 349 00:23:36.550 --> 00:23:41.000 was arranged to make the diagonal composition stand out 350 00:23:43.000 --> 00:23:45.000 Next is the silhouette 351 00:23:47.287 --> 00:23:56.020 The silhouette is organized based on the largest element 352 00:23:56.020 --> 00:23:59.170 The silhouette is important for the gathered and separated parts 353 00:23:59.170 --> 00:24:02.861 and the space between the silhouettes 354 00:24:02.861 --> 00:24:06.812 The separated parts of the silhouette focus more on the eyes 355 00:24:06.812 --> 00:24:11.512 In this picture 356 00:24:11.512 --> 00:24:18.237 the object A that the character holds is separated 357 00:24:18.237 --> 00:24:23.356 Separated means a lot of space on the left and right 358 00:24:23.356 --> 00:24:26.106 And the more crowded the parts 359 00:24:26.106 --> 00:24:28.138 the less interesting the silhouette becomes 360 00:24:28.138 --> 00:24:30.742 In severe cases, it is even considered as the background 361 00:24:30.742 --> 00:24:32.592 For example, I said that 362 00:24:32.592 --> 00:24:36.129 the nuance of the lines is especially important in action scenes 363 00:24:36.129 --> 00:24:40.049 If they are crowded, no matter how hard you draw them, they will look boring 364 00:24:40.049 --> 00:24:52.584 For example, there is a scene where a fist is extended 365 00:24:52.584 --> 00:25:00.084 Then, the line from the fist to the arm 366 00:25:00.084 --> 00:25:05.989 and the body should be visible 367 00:25:05.989 --> 00:25:12.069 but if the angle is facing the front 368 00:25:12.069 --> 00:25:14.940 it will be like this 369 00:25:14.940 --> 00:25:20.049 Let's say the fist and arm are completely trapped inside the body 370 00:25:20.049 --> 00:25:23.564 The silhouette will be buried inside the body like this 371 00:25:27.772 --> 00:25:33.247 If you change it to the same silhouette 372 00:25:33.247 --> 00:25:36.647 which one gives you the feeling of extending 373 00:25:36.647 --> 00:25:39.376 the fist and clear movement? 374 00:25:39.376 --> 00:25:42.445 This one 375 00:25:42.445 --> 00:25:45.395 So, if you lump them together, it's better 376 00:25:45.395 --> 00:25:47.852 to lump them together around the unimportant parts 377 00:25:47.852 --> 00:25:54.465 In the case of this picture, I set this as important 378 00:25:54.465 --> 00:25:58.168 Then, this body will become a large lump 379 00:25:58.168 --> 00:26:02.318 Since it's already lumped together 380 00:26:02.318 --> 00:26:05.653 I'll place it in the corner like this 381 00:26:05.653 --> 00:26:09.103 But if there's no large silhouette 382 00:26:09.103 --> 00:26:12.812 all the objects will be divided individually 383 00:26:12.812 --> 00:26:14.881 so that the silhouette will disappear 384 00:26:14.881 --> 00:26:19.732 That's why the existence of these things is also very important 385 00:26:19.732 --> 00:26:23.822 Also, you can't see the contents of a large lump unless you look closely 386 00:26:23.822 --> 00:26:30.445 So, the lumped part is less noticeable 387 00:26:30.445 --> 00:26:35.851 closer to the edge of the picture or inside the lump 388 00:26:35.851 --> 00:26:38.494 So, if you place important things in this place 389 00:26:38.494 --> 00:26:42.317 you should think about it at least once 390 00:26:42.317 --> 00:26:43.752 Next is the margin 391 00:26:43.752 --> 00:26:51.396 Margin is necessary for the silhouette to stand out 392 00:26:51.396 --> 00:26:54.896 Depending on the form of the composition you borrow 393 00:26:54.896 --> 00:26:59.336 you need to provide margins to focus so that your gaze is not distracted 394 00:26:59.336 --> 00:27:03.802 In the case of the layout on the right 395 00:27:03.802 --> 00:27:04.802 as I indicated earlier 396 00:27:09.772 --> 00:27:13.477 I made a diagonal line like this and gave the upper part 397 00:27:13.477 --> 00:27:15.158 as a margin 398 00:27:18.287 --> 00:27:21.487 The margin follows the silhouette 399 00:27:21.487 --> 00:27:24.158 but it is better if the composition influences it more 400 00:27:24.158 --> 00:27:27.198 For example, this can also be a margin 401 00:27:27.198 --> 00:27:31.248 but if you do the silhouette first 402 00:27:31.248 --> 00:27:38.901 the margin will be placed like this 403 00:27:38.901 --> 00:27:41.251 Therefore, it is good to set the margin at the same time 404 00:27:41.251 --> 00:27:44.544 when setting the composition first 405 00:27:44.544 --> 00:27:50.079 so that you can create the big picture first 406 00:27:50.079 --> 00:27:55.277 If you empty the above and below this diagonal line 407 00:27:55.277 --> 00:28:01.653 if you do it based on the diagonal composition, important things are placed like this 408 00:28:01.653 --> 00:28:05.000 If this is also intentional, it doesn't matter 409 00:28:05.000 --> 00:28:08.643 However, it feels empty 410 00:28:08.643 --> 00:28:13.000 When you want to give a complete feeling with a single illustration 411 00:28:13.000 --> 00:28:19.515 leaving two sides of the picture's edges empty 412 00:28:19.515 --> 00:28:25.000 and filling in two sides is generally stable 413 00:28:25.000 --> 00:28:32.584 This is a diagonal composition, so I filled it in like this 414 00:28:32.584 --> 00:28:36.822 but in the case of a two-part composition, you can fill it in like this 415 00:28:36.822 --> 00:28:43.792 or like this 416 00:28:43.792 --> 00:28:45.614 What does it mean to fill it? 417 00:28:45.614 --> 00:28:48.264 It means filling the range recognized as an object 418 00:28:48.264 --> 00:28:51.723 not a background 419 00:28:51.723 --> 00:28:53.693 This would be the background 420 00:28:53.693 --> 00:28:57.604 It doesn't matter if there is a fancy mural in the background 421 00:28:57.604 --> 00:29:02.178 As long as we see it as a background 422 00:29:02.178 --> 00:29:09.178 it is good if the background and object occupy this much of the corner 423 00:29:09.178 --> 00:29:13.069 Next, consider the size and position of the elements 424 00:29:13.069 --> 00:29:18.119 I adjusted the size and position of the elements 425 00:29:18.119 --> 00:29:22.257 that draw the eye by changing them 426 00:29:22.257 --> 00:29:26.000 The most important order is usually the largest 427 00:29:26.000 --> 00:29:30.634 Here, I set the head as the most important 428 00:29:30.634 --> 00:29:33.784 and then equally important are 429 00:29:33.784 --> 00:29:38.960 A, B, and C in order of importance 430 00:29:38.960 --> 00:29:46.436 Looking at what is closest to the center 431 00:29:46.436 --> 00:29:48.000 you can get a sense of the location 432 00:29:48.000 --> 00:29:53.337 The closer you get to the edge, the less important it is 433 00:29:53.337 --> 00:29:55.792 And the size is the same 434 00:29:55.792 --> 00:30:00.802 This is the biggest, and then it gets smaller 435 00:30:00.802 --> 00:30:06.069 And the line of sight flows in order of size 436 00:30:06.069 --> 00:30:09.406 Complex elements of various shapes 437 00:30:09.406 --> 00:30:12.643 are used as the most important standard shape 438 00:30:12.643 --> 00:30:21.693 For example, when there is a human body like this 439 00:30:21.693 --> 00:30:24.000 the human body is made up of various shapes 440 00:30:24.000 --> 00:30:28.000 But what stands out the most to us? The face 441 00:30:28.000 --> 00:30:32.000 So this is the standard 442 00:30:32.000 --> 00:30:37.000 So, if it is arranged like this 443 00:30:37.000 --> 00:30:43.000 it stands out like this and becomes a triangle composition 444 00:30:43.000 --> 00:30:48.000 The standard is the most important point 445 00:30:48.000 --> 00:30:53.000 among the most important connected objects 446 00:30:53.000 --> 00:30:59.000 For example, a picture whose size is inevitably fixed 447 00:30:59.000 --> 00:31:03.000 In that case, the margins and positions are differentiated 448 00:31:03.000 --> 00:31:07.337 This method can be used mainly in compositions with little influence on perspective 449 00:31:07.337 --> 00:31:11.109 such as a telephoto lens 450 00:31:11.109 --> 00:31:13.416 Next is rhythm 451 00:31:13.416 --> 00:31:20.000 Rhythm means that changes in size and selection of positions 452 00:31:20.000 --> 00:31:22.000 should be based on regular transformations 453 00:31:22.000 --> 00:31:26.703 so that the gaze is naturally guided 454 00:31:26.703 --> 00:31:34.940 For example, when there are the same things 455 00:31:34.940 --> 00:31:41.485 which one would the gaze flow 456 00:31:41.485 --> 00:31:45.000 more naturally to 457 00:31:45.000 --> 00:31:48.723 something like this or this? 458 00:31:48.723 --> 00:31:51.485 Of course, it would be this way 459 00:31:51.485 --> 00:31:56.297 This would be a composition where a person 460 00:31:56.297 --> 00:31:58.797 would have to force their gaze to move like this in a messy way 461 00:31:58.797 --> 00:32:00.000 Right? 462 00:32:00.010 --> 00:32:03.010 That is why it should be based on regular transformations 463 00:32:05.723 --> 00:32:08.023 Rhythm means the range that we can predict 464 00:32:08.023 --> 00:32:10.000 through our perception 465 00:32:10.000 --> 00:32:11.950 If 2 and 3 come out after 1 466 00:32:11.950 --> 00:32:16.426 you feel order through regularity even in change 467 00:32:16.426 --> 00:32:20.076 but as we saw earlier, if it is arranged like 1, 5, 2, 4 468 00:32:20.076 --> 00:32:22.317 it would be similar to confusion, right? 469 00:32:22.317 --> 00:32:31.713 Even in a picture, if the largest element is next to the smallest element 470 00:32:31.713 --> 00:32:36.000 and the middle element is next to that, the rhythm would be broken 471 00:32:36.000 --> 00:32:37.663 The rhythm would be broken 472 00:32:37.663 --> 00:32:43.465 Even changes like this, where the size gets smaller 473 00:32:43.465 --> 00:32:47.297 create a sense of rhythm with a certain flow, like a gradient 474 00:32:47.297 --> 00:32:51.109 In the picture 475 00:32:51.109 --> 00:32:54.109 on the right of the example 476 00:32:54.109 --> 00:32:57.198 small objects are arranged sequentially 477 00:32:57.198 --> 00:32:59.248 In the picture on the left before modification 478 00:32:59.248 --> 00:33:02.000 all elements are the same size 479 00:33:02.000 --> 00:33:04.550 If there is no change, even if they are arranged consistently 480 00:33:04.550 --> 00:33:07.000 there is no sense of rhythm 481 00:33:07.000 --> 00:33:09.850 Since five objects of similar size are spread out 482 00:33:09.850 --> 00:33:13.564 you can't tell where to start and where to look 483 00:33:13.564 --> 00:33:15.822 This is an unorganized picture 484 00:33:18.475 --> 00:33:22.277 The rule of thirds is the composition we discussed earlier 485 00:33:22.277 --> 00:33:24.377 This is one of the famous compositions 486 00:33:24.377 --> 00:33:29.604 but it is a rule that must be followed more than just composition 487 00:33:29.604 --> 00:33:33.004 Split screens completely divided into two 488 00:33:33.004 --> 00:33:38.277 or central compositions with the subject in the middle 489 00:33:38.277 --> 00:33:40.535 are often intentional 490 00:33:40.535 --> 00:33:44.085 In general, most cool art places important things 491 00:33:44.085 --> 00:33:49.020 on one of the thirds in one place 492 00:33:49.020 --> 00:33:57.455 If it is outside the thirds, it is close to the edge 493 00:33:57.455 --> 00:34:03.396 so it is not immediately visible 494 00:34:03.396 --> 00:34:11.277 or if it is divided into threes on the wider side 495 00:34:11.277 --> 00:34:15.693 If it is too much inside the thirds 496 00:34:15.693 --> 00:34:17.793 Right? That is it 497 00:34:17.793 --> 00:34:20.000 It looks like a two-part composition 498 00:34:20.000 --> 00:34:25.574 However, since it is likely not the intended composition 499 00:34:25.574 --> 00:34:31.000 for example, let's say it is in the middle of this screen 500 00:34:31.000 --> 00:34:34.376 Then, it feels too much in the middle and stands out, right? 501 00:34:34.376 --> 00:34:38.026 This is often used to direct 502 00:34:38.026 --> 00:34:41.346 through this feeling of being out 503 00:34:41.346 --> 00:34:43.646 but this composition is quite awkward 504 00:34:43.646 --> 00:34:46.198 when inducing a natural scene 505 00:34:46.198 --> 00:34:50.798 And headroom, this screen, this blank space 506 00:34:50.798 --> 00:34:53.648 from the head to the end within this frame 507 00:34:53.648 --> 00:34:55.544 This is called headroom 508 00:34:55.544 --> 00:34:57.544 When leaving a margin here 509 00:34:57.544 --> 00:35:00.950 if you refer to the rule of thirds, it will be natural 510 00:35:00.950 --> 00:35:03.327 Didn't the headroom form naturally? 511 00:35:06.238 --> 00:35:09.865 Next, angles and perspectives form a natural flow 512 00:35:09.865 --> 00:35:12.000 of sight in themselves 513 00:35:12.000 --> 00:35:14.800 Angles are not elements of the layout 514 00:35:14.800 --> 00:35:17.356 but they are very important in the formation of the layout 515 00:35:17.356 --> 00:35:24.287 The sight always flows toward the vanishing point 516 00:35:24.287 --> 00:35:30.039 It flows like this 517 00:35:30.039 --> 00:35:32.289 And most realistic backgrounds are formed 518 00:35:32.289 --> 00:35:34.723 with one vanishing point 519 00:35:34.723 --> 00:35:39.123 As I mentioned last time 520 00:35:39.123 --> 00:35:43.525 there will probably be a vanishing point at this end 521 00:35:43.525 --> 00:35:50.297 but it becomes extremely excessive if it's inside here 522 00:35:50.297 --> 00:35:54.010 So, most of the time, the vanishing point is visible on one side 523 00:35:54.010 --> 00:35:57.360 So, the diagonal line toward the vanishing point 524 00:35:57.360 --> 00:36:04.099 this diagonal line always takes priority in the flow of sight 525 00:36:04.099 --> 00:36:06.709 So, no matter what composition we use 526 00:36:06.709 --> 00:36:08.699 we have no choice but to see the objects 527 00:36:08.699 --> 00:36:11.842 in order along this diagonal line 528 00:36:15.000 --> 00:36:17.500 If we use the flow formed by this perspective 529 00:36:17.500 --> 00:36:19.950 to place the elements in the right place 530 00:36:19.950 --> 00:36:23.000 we can naturally take many of the elements above 531 00:36:23.000 --> 00:36:24.555 As you can see in the example 532 00:36:30.623 --> 00:36:34.723 angles such as high and low have large changes due to perspective 533 00:36:34.723 --> 00:36:38.010 so changes in size and location are naturally formed 534 00:36:38.010 --> 00:36:40.910 In the case of the high angle above 535 00:36:40.910 --> 00:36:45.039 a triangle composition based on the head was used 536 00:36:45.039 --> 00:36:48.439 and as the gaze flows toward the vanishing point 537 00:36:48.439 --> 00:36:55.693 these three elements are naturally passed through one by one 538 00:36:55.693 --> 00:36:58.793 Or, even if the changes in size are not arranged in order 539 00:36:58.793 --> 00:37:02.267 a sense of rhythm is felt 540 00:37:02.267 --> 00:37:05.917 and if this friend were here 541 00:37:05.917 --> 00:37:08.802 a sense of rhythm would be naturally formed 542 00:37:08.802 --> 00:37:11.902 but even though they are spaced out like this 543 00:37:11.902 --> 00:37:15.198 we do not feel that they are arranged in a messy manner 544 00:37:15.198 --> 00:37:20.762 When you look at it naturally, you can see all three people 545 00:37:20.762 --> 00:37:24.000 That is why you can feel a sense of rhythm naturally 546 00:37:24.000 --> 00:37:28.614 It feels more independent than a flow lined up in a row 547 00:37:28.614 --> 00:37:32.287 The low angle below used a diagonal composition 548 00:37:32.287 --> 00:37:34.366 What is a diagonal composition? 549 00:37:41.604 --> 00:37:45.505 It expresses a deep and wide sense of space 550 00:37:45.505 --> 00:37:48.205 the main element in the middle 551 00:37:48.205 --> 00:37:52.039 is positioned exactly in the middle size 552 00:37:52.039 --> 00:37:59.534 At the same time, the main element in the middle 553 00:37:59.534 --> 00:38:04.544 is not cut off, and the headroom is placed exactly like this, which is perfect 554 00:38:04.544 --> 00:38:08.000 This is just right, and the rest are natural 555 00:38:08.000 --> 00:38:10.150 The size is too big to be seen 556 00:38:10.150 --> 00:38:14.000 or adjusted to be small, so they don't attract attention 557 00:38:14.000 --> 00:38:17.604 So, the center is completely focused 558 00:38:17.604 --> 00:38:21.455 and the main elements of the picture are felt 559 00:38:21.455 --> 00:38:25.000 The important thing is to leave the vanishing point empty 560 00:38:25.000 --> 00:38:28.337 in order to see the effects of perspective and the vanishing point 561 00:38:28.337 --> 00:38:32.052 If the vanishing point is blocked like this, it feels stuffy 562 00:38:32.052 --> 00:38:34.000 and you can't see the effects of the vanishing point 563 00:38:34.000 --> 00:38:36.850 This picture also has perspective 564 00:38:36.850 --> 00:38:40.000 but you can't feel the vanishing point, and it just looks flat 565 00:38:40.000 --> 00:38:42.000 You can't feel the flow of perspective as much 566 00:38:42.983 --> 00:38:46.656 Video Croquis Focused on Layout 567 00:38:48.224 --> 00:38:51.224 You know this layout in your head 568 00:38:51.224 --> 00:38:53.772 but it's difficult actually to apply it 569 00:38:53.772 --> 00:38:58.000 Learning this by doing a screen croquis on the video is best 570 00:38:58.000 --> 00:39:00.294 Lastly, we'll practice layout drawing 571 00:39:00.294 --> 00:39:02.762 through screen croquis 572 00:39:02.762 --> 00:39:07.307 You'll sometimes come across a screen with a nice mise-en-scène as you watch the video 573 00:39:07.307 --> 00:39:12.723 So, let's pause the screen for a moment to do a croquis 574 00:39:12.723 --> 00:39:16.323 Here is an example of a scene from 575 00:39:16.323 --> 00:39:21.406 the famous movie 'Chungking Express' 576 00:39:21.406 --> 00:39:27.079 Before drawing, first, figure out the overall composition 577 00:39:27.079 --> 00:39:29.729 When looking at the whole thing, it is easier 578 00:39:29.729 --> 00:39:33.366 to figure it out from a distance or by zooming in 579 00:39:33.366 --> 00:39:35.198 The bigger you draw, the more confusing it becomes 580 00:39:39.009 --> 00:39:41.509 If you figure out what kind of composition was used 581 00:39:41.509 --> 00:39:44.287 and proceed according to the composition, there will be no confusion 582 00:39:44.287 --> 00:39:47.187 The composition in this scene 583 00:39:47.187 --> 00:39:50.000 is probably one of the layouts I haven't introduced 584 00:39:50.000 --> 00:39:54.307 It seems to be composed of the golden ratio based on the horizontal 585 00:39:54.307 --> 00:40:00.157 Based on the central figure, the left and right sides 586 00:40:00.157 --> 00:40:03.366 based on the exact center here 587 00:40:03.366 --> 00:40:07.554 are 8:5 588 00:40:07.554 --> 00:40:12.198 In this case, it is not completely divided into thirds, nor is it completely in the center 589 00:40:12.198 --> 00:40:14.436 but you can draw it while keeping in mind that it is located 590 00:40:14.436 --> 00:40:19.396 in the middle of the center and the thirds 591 00:40:19.396 --> 00:40:23.307 It is most important to get a feel for the proportional details 592 00:40:23.307 --> 00:40:27.352 such as where it is divided in 593 00:40:27.352 --> 00:40:32.010 what proportion and how much space is left 594 00:40:32.010 --> 00:40:36.000 And let's first look at the large mass of this screen 595 00:40:36.000 --> 00:40:39.800 This screen is the walls on the left and right 596 00:40:39.800 --> 00:40:52.208 And the person in the middle is the most central large mass 597 00:40:52.208 --> 00:40:56.703 If there is no mass, it is first distinguished and displayed mainly in black tones 598 00:40:56.703 --> 00:41:02.029 This is not a mass, either It is just distinguished 599 00:41:02.029 --> 00:41:04.772 in black tones 600 00:41:04.772 --> 00:41:11.356 However, even if this is not an element, the distinction between black and white tones 601 00:41:11.356 --> 00:41:14.792 is the most important in the composition when it is visible like this 602 00:41:14.792 --> 00:41:18.247 so the large mass is distinguished based on black and white tones 603 00:41:29.920 --> 00:41:34.673 Like this, the top and bottom are appropriate 604 00:41:34.673 --> 00:41:38.752 there is headroom here, and the bottom is empty 605 00:41:38.752 --> 00:41:46.524 So, considering this, I only indicate the location like this 606 00:41:46.524 --> 00:41:49.167 If possible, it is better to express the scene croquis 607 00:41:49.167 --> 00:41:52.080 mainly in silhouettes rather than lines 608 00:41:52.080 --> 00:41:54.230 Even if you draw it like this with lines 609 00:41:54.230 --> 00:41:57.440 it is better to display it mainly in silhouettes like this 610 00:41:57.440 --> 00:42:02.120 The lines are now black and gray 611 00:42:02.120 --> 00:42:04.879 Gray like this 612 00:42:04.879 --> 00:42:08.320 It is the cleanest to express in gray and white 3 tones like this 613 00:42:08.320 --> 00:42:12.270 f you add a little more detailed tone 614 00:42:12.270 --> 00:42:14.920 it can be described 615 00:42:14.920 --> 00:42:17.616 This much is enough 616 00:42:26.520 --> 00:42:30.720 Yes, I finished the croquis like this 617 00:42:30.720 --> 00:42:33.420 You might wonder what kind of scene croquis this is 618 00:42:33.420 --> 00:42:35.720 but it’s enough to draw it like this 619 00:42:35.720 --> 00:42:38.270 If you diligently describe the details 620 00:42:38.270 --> 00:42:40.770 you’ll neglect to grasp the composition 621 00:42:40.770 --> 00:42:43.080 so it’s a method to exclude them 622 00:42:43.080 --> 00:42:46.330 I’ll draw these things one by one 623 00:42:46.330 --> 00:42:49.048 in black because the background is dark 624 00:42:49.048 --> 00:42:53.680 And here, the upper body is white, so I’ll draw it in white 625 00:42:53.680 --> 00:42:58.320 This is good as a croquis for capturing light 626 00:42:58.320 --> 00:43:01.000 but we’re studying layout now 627 00:43:01.000 --> 00:43:03.050 So this is the most noticeable subject 628 00:43:03.050 --> 00:43:07.000 so I drew it in black 629 00:43:07.000 --> 00:43:11.300 This black part, which corresponds to the wall 630 00:43:11.300 --> 00:43:15.559 is actually out of sight, so I’ll leave it in black 631 00:43:15.559 --> 00:43:20.160 and you can mark it like this 632 00:43:20.160 --> 00:43:21.879 You can do this much 633 00:43:21.879 --> 00:43:26.080 This part of the background is completely behind it 634 00:43:26.080 --> 00:43:29.480 I’ll only mark it in white 635 00:43:29.480 --> 00:43:33.120 and it’s better if the other details aren’t visible at all 636 00:43:33.120 --> 00:43:36.239 Even if you just show that there is an object behind here 637 00:43:36.239 --> 00:43:40.720 the black stands out overwhelmingly 638 00:43:40.720 --> 00:43:44.040 The background and structure are minimal 639 00:43:44.040 --> 00:43:47.790 This is because we only understand this much 640 00:43:47.790 --> 00:43:56.409 and this much when looking at the whole picture 641 00:43:56.409 --> 00:44:02.440 So, rather than neglecting the composition 642 00:44:02.440 --> 00:44:04.613 it is best to exclude details and draw a croquis 643 00:44:04.613 --> 00:44:06.960 showing only the large area like this 644 00:44:06.960 --> 00:44:09.560 It is best to draw several small ones like this 645 00:44:09.560 --> 00:44:13.160 It is best to draw several simple ones 646 00:44:13.160 --> 00:44:15.800 This is because it is not a copy but a croquis 647 00:44:15.800 --> 00:44:17.850 Also, it is better to draw a small picture like this 648 00:44:17.850 --> 00:44:20.639 when composing the whole picture 649 00:44:20.639 --> 00:44:24.089 Even if it is not a croquis 650 00:44:24.089 --> 00:44:26.000 if you draw an image like this 651 00:44:26.000 --> 00:44:29.119 before drawing an actual picture 652 00:44:29.119 --> 00:44:36.248 it is quite difficult to lay out this large canvas 653 00:44:36.248 --> 00:44:41.279 from the beginning 654 00:44:41.279 --> 00:44:47.039 It is best to draw a small picture and think about the concept first 655 00:44:47.039 --> 00:44:50.440 Draw many good compositions like this in small sizes 656 00:44:50.440 --> 00:44:52.800 and analyze why this composition 657 00:44:52.800 --> 00:44:55.950 is comfortable or attractive 658 00:44:55.950 --> 00:44:59.200 You will naturally come up with a stable composition 659 00:44:59.200 --> 00:45:02.600 without having to worry 660 00:45:02.600 --> 00:45:06.360 Let's summarize what we learned in this session 661 00:45:06.360 --> 00:45:08.460 First, we learned about the balance of layout 662 00:45:08.460 --> 00:45:11.360 and the types of screens 663 00:45:11.360 --> 00:45:13.860 Second, we learned about compositions 664 00:45:13.860 --> 00:45:15.880 that can focus the eyes 665 00:45:15.880 --> 00:45:18.280 Lastly, we learned how to draw croquis 666 00:45:18.280 --> 00:45:21.039 focusing on layout 667 00:45:21.039 --> 00:45:22.929 Thank you 668 00:45:24.141 --> 00:45:25.091 Layout concept and types Layout concept Work that considers readability and message delivery through the arrangement of screen components 669 00:45:25.091 --> 00:45:26.041 Produces visual beauty and emotional response, and maximizes the effect through the character of lines and the flow of vision 670 00:45:26.041 --> 00:45:27.041 Types of layout Division of two: Dividing the screen into two parts and guiding the gaze symmetrically or asymmetrically Thirds: Dividing into nine parts and placing the main elements at the intersection 671 00:45:27.041 --> 00:45:28.041 Horizontal composition: Expressing a stable and wide sense of space Diagonal composition: Dynamic and tense composition 672 00:45:28.041 --> 00:45:29.041 Diagonal composition: Guiding the gaze to the vanishing point in an X-shape Triangular composition: Natural margins and harmonious visual flow in a triangular shape 673 00:45:29.042 --> 00:45:29.992 Types of cuts and rules for composing layouts Types of cuts Extreme close-up: Enlarges a specific area to maximize emotional expression Close-up: Expresses facial expressions 674 00:45:29.992 --> 00:45:30.942 Medium shot: Shows actions and environments by capturing up to the waist Full shot: Clearly expresses the entire body and surroundings Long shot: Emphasizes the background from a distance 675 00:45:30.942 --> 00:45:31.892 Layout composition rules Composition: Composing a large composition with lines or shapes Silhouette: Organizing silhouettes based on large elements and utilizing margins 676 00:45:31.892 --> 00:45:32.942 Margin: Making silhouettes stand out and providing margins except where focus is needed Size and location of elements: Guiding the eye through size and location Rhythm: Regularly applying changes in size and location 677 00:45:32.942 --> 00:45:33.942 Rule of thirds: Placing important elements at the intersection of thirds Angle: Using perspective to form a natural flow of vision 678 00:45:33.942 --> 00:45:35.573 Layout-oriented video croquis Learn layout drawing with screen croquis Understand the overall composition: Understand the composition and observe the 679 00:45:35.573 --> 00:45:37.292 Croquis with silhouette: Use black-gray-white tones instead of lines See the big picture: Draw by separating the big picture first 680 00:45:37.292 --> 00:45:38.843 Exclude details: Understand the overall picture by drawing several small and simple pictures