Original subtitles

Hey guys.

And welcome to the summary video for Module 1.

I know it was a very talky module, but you don't have to worry. The rest of the Course is really about all

the drawing, the practical things, and not sort of the mental kind of theoretical things that you need to

be thinking about.

Nevertheless, let's summarize module one.

Please take notes if you haven't started taking notes already.

And let's get right into it.

So the first thing we want to just take a quick look at is: S F D or Shape, Form, Detail and summarize

that in our three triangle structure. Shape being the biggest section, Form, and then Detail.

And this first triangle is kind of art theory; how we want to think about the theory of the structure

of images: art theory. And also a good way to think about this is how we think.

Right.

And by we I mean artists. How we think.

The second triangle is how we create art.

Right

So this is implementation theory. Implementation (mind my handwriting) theory.

And really, this is that we want to engage in sort of shape (let's put Form here first) Form and Shape

thinking at the same time and then doing the details later.

And this is basically how we draw.

All right.

And then last but not least, this is the how the viewer sees. How the viewer sees pieces and how we look

at art when we're in our appreciative mind set, when we're kind of looking at art that we admire.

And it's kind of a 50/50 split between detail and form. A viewer doesn't really notice shape right.

And as we know, Shape is extremely extremely important.

I'll re-emphasize it, and as we go through the course, you'll realize why. Because shape has everything to do with

composition and it's sort of the hidden reason why artwork looks good, feels good, and communicates certain

things. And it even permeates into the form section, in terms of light shapes and things like

that.

And so this is really how people see. What people see or view art. Probably things in life as

well but I don't want to get into that.

So, that is really our Shape, Form and Detail theory.

And it really structures everything. It also implies a work flow which we'll look at later.

So, that's that's. And let me just move that to the side.

Next thing is: "Technical skill versus Emotional Impact".

Right.

So, let's put a bubble here, and let's call this one "Emotional Impact"

and we'll put another bubble kind of slightly smaller here.

"Technical Skill".

Right.

And the summary of this really is that, whilst in an ideal world you'll want to have a 50/50 split: Emotional

Impact will always be weightier than Technical Skill and you definitely see this in a lot of children's

books and in a lot of popular cartoons and things. They're very kind of flat, often lacking.

But they have a huge emotional impact in the appeal of the structure of the artwork, which often outweighs

any kind of technical criteria that they're not meeting.

So let's always remember

Emotional Impact is very important.

We want to make an emotional impact first when we are and thinking and conceptualizing our characters,

and then we want technical skill to try to communicate that to the viewer in the most effective way.

Right.

But a 50/50 would be ideal. That or 100/100 even. But 50/50 split, that you are getting the

emotional impact and you're getting the technical skill, and then you should have a really great, well

balanced piece in that regard.

All right.

And let's move on to: "The story is everything" right.

I'm just going to write this really big here. "Story is EVERYTHING" alright.

So once ,again the story being everything is really that the story, the feeling, and the emotion and the

the thing itself of the art.

Right.

The concept of the art, the story of that concept and how it makes people feel, what it communicates

to people, the mood, the expression, and all of those things are everything when it comes to the artwork.

This obviously does tie into "Emotional Impact" and really, the story is everything.

You have a great story, but it's got poor implementation.

It's still a great story.

Yes maybe the implementation isn't great but the story is still great.

You have a very poor story; poor feeling, poor mood, poor emotion, and great implementation.

It seems like a dead piece.

It seems like a good piece

in a technical way, but it's kind of dead, and it's not going to enamour anybody or compel

them to look longer, and it just it won't really be a head turner, or a popular piece of work.

It lacks appeal because it doesn't have an appealing story.

All right let's talk about "Believability versus Realism".

Now this is not to say that we don't do realist art or that we're trying to make our works appear

to be in time in space in 3 dimensionality.

No. Really this section is just about having you understand that having a piece of art that is believable

outweighs having a piece of art that is extremely realistic. Realistic doesn't equal good. Believability

equals good.

And the more believable the work is, the more believable the story is, and the better the story is, and

the feeling and the emotional impact. This all aids in the believability of a piece of artwork. You know,

being super hyper real.

And you've probably seen super hyper rendered 3D models of something, but the model just looks dead looks

static. And yes it looks very real, but it doesn't look alive.

And all of that stuff comes from the story, the feeling, the emotion, the believability, that has been put

into the piece of work.

And so that's really what that section is about.

Right, let's move on to our "Studies and Art creation".

Right.

So once again, art studies is really just drawings that we do, completely without fear.

Completely without fear for learning.

OK.

We do these art studies for learning.

They are the sketches that we might do at a coffee shop,

the observational drawings that we do in visual library development which you'll learn coming up. When we're

trying to expand our visual library, when we're trying to just kind of understand the world better. Observe

the world, take reference from the world, and understand the designs better.

They're art studies. (I think I spelt that wrong) studies.

And really, I don't want to you guys to stress about art studies, just do the studies.

It doesn't matter what it looks like.

All that matters is that you are observing and that you're learning right.

And then "art creation". And the reason that I make this very particular split between the two, is that

if you feel, if you've got all these feelings of fear of good drawings and stuff when it comes to art

studies, it's going to hinder your learning. You're not going to learn quickly, because

you're worried about it looking good; you're worried if you're a good artist, you're questioning yourself

if you've got any skill or talent at all. If you should be doing this and so on and so forth.

We don't want that. It's messing with our learning, speed and our learning progress. Now

"Art creation", yes there's fear, but art creation really is making good art, right, making good, good art.

We do want it to look good.

We do want it to have appeal.

Right.

And we do want it to have a professional finish. And so it is different from art studies.

You want to learn how to (Whoops!

I was thinking about the word fear!).

You want to learn how to avoid being fearful in this stage.

And one of the ways we avoid being fearful in art creation is, having a solid work flow, having

a solid map, knowing what to do when we're creating art.

So when we do make mistakes, or we are confused about what to do next, we have the map and we realize;

"OK, I need to do this this this, or this can be fixed in this way".

Right.

And then that removes the fear.

I mean a lot of the time fear comes from not knowing right.

And so, with our creation we have workflows that help you to know exactly what you need to do.

All right.

And then last but not least, "Imaginative and Observational art". So I'll use this little space at the top

here.

Imaginative art or imaginative realism.

Right let's call it imaginative realism, it is art artwork that we do from our imaginations.

Right.

And observational art is pretty much a lot of the time, the artwork that you see guys doing on street

stalls on the street, copying photos, people copying photos of their family, people doing paintings of

their family and little kids and people, and things like that and people just painting landscapes, you know,

from the real world plaein-air (paintings done out doors) as they call them.

That's observational art right.

Observational art is is in many ways significantly easier than imaginative realism, because in imaginative

realism we need tons of theory right, tons of theory so that we can actually understand how to paint

these things just without any references.

If if we need to.

And generally speaking, depending on the type of artist you are, you or you might work like that.

An observational artist can really, to a large extent, just copy what's in front of them.

And also, I think normal people (non artists) don't realize that

observational art is actually fairly straightforward.

All you really have to do is observe and recreate exactly what you've observed. Recreate the measurements,

recreate the values, recreate the colors, the tones, whatever the case might be. Or recreate the lines or the edges,

or the shapes that you're seeing. Just recreate them in the correct measurements from each other

in the right proportions from each other.

And generally anybody can do this with, you know, a little bit of practice, of just copying things, right.

And we will be doing some observational art and visual library development in module 2 to help us

learn and grow our visual libraries.

Nevertheless, you can also get a hybrid of imaginative realism and observational art where you know all

the art theory and all the rules, and then, you kind of use an observed thing, like a person, or a landscape,

and you use the imaginative theory to add drama, to amp up and boost the observed world and you're really

going to dramatize what you're seeing.

Nevertheless, this course is solidly in the imaginative realism territory and obviously things like art

for animation, pre-visualization, concept art for characters, stylised character designs, you know, manga

art, comic art, and stuff like that.

So imaginative realism right.

And we're going to be learning this, tons of theory, at least in terms of character design.

All right that's about it for the summary video.

Let's move onto Module 2.

I hope you're excited.

It's going to be a really awesome module.

Let's get started.