Animation Workshop - Lesson 02 - Visual Design - 12 Week Course

Lesson Sample from my Animation Course for high schoolers. Taught at various schools under the Pacific Charter Institute banner.

Transcript

1. MOVIE MAGIC Visual Design
2. Visual Design  Your brain naturally wants to make sense of the visual world  Organization via “Gestalt” Engaging the Eye
3. Visual Design • The means by which your brain organizes and separates visual information Gestalt
8. Visual Design • Intensity • Contrast • Unity • Focus • Balance Utilizing Gestalt Paul Lasaine
9. INTENSITY
10. Intensity • Line Angles • Curve Severity • Color Temperature • Color Saturation • Value & Tone • Contrast What Makes a Picture More ‘Intense?’ Scott McCloud
11. Intensity Line Angles VS Horizontal & Vertical Diagonal
12. Intensity Curve Severity VS Curves Corners
13. Intensity Color Temperature VS Cool Color Warm Color
14. Intensity Color Saturation VS Low Saturation High Saturation
15. Intensity Value / Tone VS 50% Gray 100% Black
16. Intensity Contrast VS Low Contrast High Contrast
17. CONTRAST
18. Contrast Contrast is the chief factor when it comes to engaging the viewer’s eye. Contrast through: – Value – Color – Line – Shape One Rule to … rule … them all Pierre Alary
19. Contrast Value
20. Contrast Color Saturation Complementary Temperature
21. Contrast Line Carolin Schweizer
22. Contrast Shape Rad Sechrist
23. UNITY
24. Unity • Proximity • Repetition • Variety • Flow Everything Belongs Ragnar
25. Unity • The eye is more likely to “gestalt” separate elements if they are close together • Proximity can simplify complex compositions into smaller groups Proximity
26. Armand Serrano
27. Unity • Common shapes and motifs that repeat throughout the composition. • Similar elements will “bond” even when separated by distance Repetition Charley Harper
28. Charley Harper
29. Kevin Nelson
30. Ragnar
31. Unity • Successful compositions straddle the divide between order and chaos • The eye is bored by purity in either; it wants something in between Variety
32. Awa Tsireh
33. Sue Nichols
34. Colin Stimpson
35. Unity • Visual elements guide the eye throughout the composition • Visual elements also prevent the eye from prematurely leaving the frame Flow
36. Marc Davis
37. Charley Harper
38. Armand Serrano
39. FOCUS
40. Focus • Convergence • Contrast • Isolation Where The Eye Looks and When Georges de La Tour
41. Focus • Eye is guided to a primary focal point by lines both literal and implied Convergence Colin Stimpson
42. Mark Kennedy
43. Mark Kennedy
44. Mark Kennedy
45. Mark Kennedy
46. Focus • Uncommon elements stand out in a sea of sameness Contrast
49. Focus • Island vs Continent • Eye is drawn to what stands alone Isolation
50. Valerie Gorbachev
51. Kevin Nelson
52. BALANCE
53. BALANCE Balance through: • Size • Location • Texture Managing the Compositional See-Saw Armand Serrano
54. BALANCE • Large areas of low contrast are balanced by small areas of high contrast • Large simple shapes are balanced by small complex shapes Size Aurian Redson
57. BALANCE • Objects near the border draw the eye • Small areas of interest at the edge balance larger areas of interest near the center Location
60. BALANCE • Areas of detail vs. Areas of rest • A mix of blank and detailed areas creates visual rhythm Texture Herge
62. Marcelo Vignali
63. Mike Mignola
64. PUT IT ALL TOGETHER All design principles are in operation at all times
65. Hans Bacher
66. Visual Design Creating and revising with design principles in mind will ensure your audience admires your art for longer Conclusion Martin Wittig Ryan Woodward