Few more interesting videos

Some good points about value problems

How to add a color wheel to photoshop

I am back!

Four years later, yet I'm here again.

Where were I? Studying Graphic Design, in Athens' Technological Educational Institute! I have one more year to finish, because life happens, but it's been a ride. I've made lots of stuff in Graphic Arts, like these, progressed a bit in traditional and digital illustration, boosted my artistic skills, did TONS of photography (which I haven't uploaded yet) and even got some encouragement on exploring my personal style.

What I've been hiding from everyone is my current obsession. I'm making a surreal comic - but with serious levels of addiction! My friends and family would think I'm crazy for spending that much time for a half-baked novel, so I hide most of the work I do. Reading about writing, character development, humor and psychology, even speeches and politics (my hero is a prince), watching movies about kings and queens, spending hours in writing forums, and daydreaming endlessly about how my characters think and behave. The pre-sketches are over 100 pages long and I haven't yet fully developed my characters, so it's possible I am crazy. (Btw check out this forum if you're into writing, the community is quite friendly and supportive) What's amazing is, due to all that focused study I grow with my characters. Who knows, perhaps all I need to finally become a solid adult is an imaginary prince called Beta!

I've rambled way too much about myself, so here are some beautiful art-related videos for you:

How to draw hair. It has some nice thoughts about how things work. 

Sycra has several interesting tutorials, so if you like this one check them out.

The making of a comic page. Just beautiful.

The making of a lovely digital painting. I learned some things watching this.

Ah, the eternal question: how do we price our design services?

A lovely video on how to pick colors. Never hurts to polish the basics!

And this one for the romantics :p

Color wheel and page layouts

A job is a job, but we're behind at the core lessons! Time to catch up. We were about to take a look at color analysis and also at page layouts (which were to be checked out later, but that's the charm of making your own study program!)
Starting from color...now, that's a huge subject! Let's start from the basics (not color mixing-the next basics!)

IN THE BEGINNING, THERE WAS THE COLOR WHEEL.

This and this short slideshows give a good feeling of the fundamentals and their applied logic. (By the way, the certain site contains many interesting presentations to search. For example, elements of art & design which we saw previously-also here) 

A very, very interesting view on color can be seen here and here (two parts).

Extra notes:

-here is a composition technique I hadn't found before: "rule of space: leave empty space in the direction a portrayed person's looking at to indicate movement"

-I want to note a Greek site which is also nice (loses its half info if you don't speak the language...but you can check different applications of colors)

Moving on to page layout: check out  this visual summary for a first fragrance of neatness! More extended thoughts cam be found here. If you want more visuals instead, lists like this can give you several ideas. That was all for now! I'm not to apply these layouts somewhere yet, so I'll just exercise by identifying them on magazines, newspapers and everything else.

But color applications...I have to exercise on them soon. 

More useful Illustrator tricks

Summer lessons-finished, extra work-done, week-long illness-over. Hopefully, I'm back to my daily-update rhythm.

Sooo...I said I'd show you how to write curved texts in Illustrator. How to type on paths, in general. Here is a gem tutorial that teaches you not only that-it also shows:
-how to auto-duplicate shapes to make awesome custom textures (spoiler: just hit ctrl+D!)
-how to decorate any shape with a photo pattern
Also shows how to use reflect and align, which is simpler stuff but also needed if you haven't covered it yet.

Also, let's start using the blend tool more originally! It makes line transitions amazingly easier. In this quickie I threw in some simple grey shapes for the shadows, and used the rotate tool (also seen at the previous post) for the radial lines at the background.

Tutorials: making a logo

So, we were at the point of making a logo. Which I made, and as promised will tell its story to you.

It started when the founder of a conservatory approached me, asking for a new logo. I've responded to such requests before, but this was harder than usual. I were requested to
-Use the letter A as basic symbol ("Alpha" being the name of the conservatory).
-Connect the logo with musical symbols
-Make it flashy/memorable-and, if possible, 3D
-Preferably make it look like an embossed metallic badge. Which, combined with 3D, restricts calligraphy tricks.

As you may know, the making of a logo is much more than technique. One needs to understand what the client wants to be conveyed by it. Also, you need to make something adaptable to their practical needs (it should look good on leaflets, banners, etc). And finally, you need to stop the client from choosing something stupid or cheesy as their logo-let's not forget, not only we're offering a service here, but also our name will be linked to that logo once it goes out. So, our logo is needed to be memorable and flashy and 3D, but not kitsch or "heavy". Can we do it? Always! After all, it's a relevantly relaxed assignment: so it's possible to play around until we make it.

First, we start by getting a big piece of paper and scribbling tons of ideas. Secondly, we scratch off the ones that won't work for various reasons. For example, most of my ideas didn't work with anything 3D, or had the wrong focus. In the end, I simply went for the A-badge idea.

ATTEMPT 1

So, first thing was to find a metallic badge tutorial to practice on. Of course, we could simply sketch an A badge on Photoshop and paste some metallic texture or 3D effect,but that wouldn't look neat, would it?

Badge Design Tutorial

Of course, there is a problem with this one. It's not quite fitting my needs: all my logo sketches for this case are filled with curves and free shapes. We're talking about a music logo after all, it can't be too geometrical. But let's try anyway.

Now the first thing we gotta do is to outline the shape. But curves are too tricky! So here's how we add more anchor points, to get those pesky curves under control:

After this, getting the hang of the pen tool was a matter of time. I'm not lightning-fast yet, but it looks like reaching full speed won't take too long.

Next, importing the lineart in Photoshop. Time to make this look like a badge! I tried to adjust the remaining steps to the work at hand:

(1) Separating the levels

For the first part, I separated the levels by filling the shapes with lighter and darker gray (dark for the deeper part). That's when I saw this couldn't work with just two levels of depth: I needed three. Which were the shiny flat metal, the carved pentagram, and the embossed A. I filled the areas with three levels of gray, separated at three different layers, then played around with the "emboss" effect at each layer till I got the desired result (boy, this took me WAY more time than it should! I need to stop messing with Photoshop effects at every given chance) The notes still looked too dark, so I used a brush to throw some gray in their center and make them "pop".

(2) Throwing in the texture

I started by following blindly the "metallic effect" of the tutorial. Initially, it made "A" to "pop". But it wouldn't work on the whole thing. It didn't match the round-ish design well, and when extended the gold was hard on the eyes. It wasn't 100% right for our special occasion. I blended in some of the knowledge about aluminium (see my previous post about aluminium buttons) Grey metal looked more realistic, but still not attractive enough. So, I threw in a colorful gradient and a barrage of subtle effects, with a final reddish overlay to make everything blend.

(3) Finishing lines

I copied the non-3D lineart of A on the top of it, to make it stand out more. Also, I added the words on the ribbon. Done! (The last one was an attempt to make a less flashy 3D logo, which would fit the colors of the conservatory. Good idea, but mediocre result)

ATTEMPT 2

I'm not too much of a fan of the complex 3D styles, so I wanted to try for something more. I had spent some time stylizing my previous ideas, when I found another awesome tutorial, very educative. It indicates how to use the rotate tool to make awesome shapes, and how to use the -very cool-blend tool. I went so wild with stylizing ideas after this that I spent two whole days just for making different versions (I'm posting what was most liked) I used the font "Colonna MT" for the letter-you can download it online for free. 

Logo with letter "A"

I won't be as descriptive with this one. Just want to point out that you don't need to switch at Photoshop to erase the line lengths, for a quicker piece you can overlay with a white brush (might be problematic if you're planning major vector transformations, though) And to write a text on a curve, you can also do it here... But I'll get to this next time ;)

Basic synthesis, episode 2

Weekend! At last, I can post.

We are still in the composition "chapter". Which has three parts:

-basic elements (studied from Kandinsky's theory, as mentioned last time)
-applied composition 
-color composition (to be covered later)

Let's start with the "juicy" part. Here is a great video playlist about applied composition basics. It is a photography playlist, but most of it teaches generally applied composition. I'm posting the most basic of these videos here.

 

 

But I would highly recommend watching the rest of his videos. They are short and spot-on.

Now, back to Kandinsky...I finished his book, which is sort of a "grammar" for art. I am posting my notes below (not phrased exactly as in the book-they are personal notes on it)

_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-

Forms of all types may consist of three basic forms: point, line, and plane (usually the two first forming shapes on the latter)

General notes

-What gives strength to the elements of a picture, is the tensions between them. Tensions give internal expression to the matter, and bring it to life.

-Synthesis problem: how many elements are necessary at an artistic piece?

-Synthesis= the necessary submission of (1) isolated elements and (2) structure to a certain artistic purpose. (if the harmonic echo of the elements is responding fully to the artistic purpose, then it is synthesis itself)

Points
-Points can express: timelessness, stability, lack of motion, fullness

-A point can add tension to the picture, regarding its relevant position and distance from the other elements of the picture.

-Even points may have different shapes and colors.

-Points are used visually in many things (literature/full-stops, music signs e.t.c) But when we isolate a point from everything else, we strip it from all previous meaning, and its free expression comes forth. 

-When is it a point and when a circle? If its size is comparable to the surrounding lines it is a dot, if its size is thicker than surrounding lines it starts looking like a circle.

-The meaning of a point may be translated with two ways: as an internal or an external concept. Externally, every drawing or artistic form is an element. But, internally, what makes a symbol isn't the form, but the living tension it contains. The content of a painting isn't defined by the external forms, but by the forces-tensions living in these forms. Otherwise, any random collection of forms would be an artistic piece. The content of a painting is expressed with synthesis, meaning the organized sum of the desired tensions.

-Points can also expressed as edges of peaks

Lines
-The repetition of lines introduces rhythm in the picture. Varied distance shows change of rhythm, multiplied identical items = enhanced impact of their rhythm, similar items = focus on the quality of their echo.

-The length of the line responds to a sense of duration.

-Horizontals are considered "cold", verticals "warm".

-The curve, not the crooked line, is the opposite of the straight line. It is consisted of a single line that carries two cooperating forces, plus their resulting one. The crooked line is a path of straight lines guided by alternated forces.

-Also, this is why curves triple the tension in comparison with the straight line.

-Varied line thicknesses express variety of tension. By thinning out a line we are guided closer to a point and tension is raised. (Personal thought on this: it looks like thickness=tension of matter and peak=tension of spirit)

Plane

-A plane can also have an aesthetic echo, not only the elements on it.

-It is consisted of 2 "warm" and 2 "cold" lines. The dominance of one of both makes the plane "warmer" or "colder".

-Diagonals: The sides of the plane have certain visual "resistance". Top-left corner is the "lightest" and bottom-right the most "heavy". The amount of resistance is hence raised from top-left to bottom-right. The top-right and bottom-left have a "weight" that's in-between. Going further, diagonals travelling from the light to the heavy corner give "dramatic tension", and diagonals between the intermediate corners give "lyric tension".

-Vertical and horizontal antithesis are considered intense, while diagonals are seen as less intense. 

-The center is neutral, all tension leaves from it.

-"Up"= flexibility, feeling of lack of weight, impression of movement. "Down" is more stable and consistent.

-Freedom of movement is reduced from top to bottom. But the dynamics can be countered by putting the heavier forms on top.

-Moving/exiting leftwards: has a "risky" echo, it is a movement towards "far away". Man leaves his usual environment, free from his everyday problems (tension-rapidity)

-Moving/exiting rightwards: return. Going towards home. The tension becomes thinner and the movement is reduced. 

-Two types of engagement: (1) elements are connected materially with the plane and highlight its tension. (2) elements have a relaxed relationship with the plane, so that it almost disappears, and they wander in a no-border space.

-The elements going forwards and backwards expand the plane accordingly.

Colors

-Passive/horizontal = black or blue, active/vertical = white or yellow

-Free lines: going forward is associated with yellow, backwards with blue

-Red shows internal tension, and is associated with diagonals, planes and squares (also, sometimes gray, green)

-Shapes: they are consisted of  (1) horizontals = black = blue (2) verticals = white = yellow (3) diagonals = red. So: triangle=(b+y+r)-b-r=yellow, square=(b+y+r)-b-y=red. Circle has passive tensions, so = blue.

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His color theory seems a bit dated. Which I've heard it is true, and have to search it further. But no worries, because color composition study is up next! 

However, there will be a little extra thing before that. I were just tasked to make a logo. So, we will halt theory for a little bit and get into action! 

Kandinsky. Also, programming.

Kandinsky. Such an interesting guy-a poet of synthesis, actually! He saw lines and dots as musical notes. He saw artists as musicians, who would induce feelings to their audience, over than just depicting obvious forms. And, over all, he wrote an actual practical analysis of the use of basic art elements.

Colour is the key. The eye is the hammer. The soul is the piano with its many chords. The artist is the hand that, by touching this or that key, sets the soul vibrating automatically. ”
- Wassily Kandinsky

Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colors, and that you be a true poet. This last is essential. ”
- Wassily Kandinsky

Everything starts from a dot. ”
- Wassily Kandinsky

(Quotes stolen from here)

I've just found his gem, "Point and Line to Plane"currently study it like crazy. It's enlightening to see how simple shapes can affect our psychology and perception. There are circles that look like dots, then dots that look like circles, in comparison with whatever is in their environment. And it could be the exact same shape, just being side-to-side with fatter or thinner shapes. There are calm, flowy lines, then sharp, jabbed lines-which sounds plain, but can play a huge role when designing a logo (for example). Distances create movement for the eye, repetitions create different types of rhythm. I feel like I'm learning the grammar to my mother language!

For video of the day, I'm posting this lovely and fun lady. She gives some interesting insight about how to start getting into the arts industry. I love how she emphasizes the need to be a storyteller for the birth of your every creation.

I don't have a sketch of today (due to sudden Kandinsky addiction). I made some, but since they're dots/lines, I'll need to read color synthesis before they're complete. I never thought I'd be excited over a bunch of lines!

Aaand last topic for today: Program. It is important to have countable results and a good program when working alone.

For example, I thought just going for "learning PS-Illustrator-InDesign" was ok. but seeing my first week's productivity...well...it made me snap out of my delusion, fast.
Here is the new plan (detailed this time!)

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Professional Goal

-Logo design

-Prints / posters /leaflets design

-Illustration

A. Theoretical Background 

A1. Synthesis: a) Basic elements of synthesis: dot, line, surface. Read Kandinsky.

                             b) Color synthesis (note: theories of  Itten, Klee) 

                             c) Other elements of synthesis: symmetry and fractals, complex perspectives,
                                 minimalising complex items. 

                             d) Application study: Structure of illustrations / photos / leaflets. Balanced        
                                 logos.

[^Estimated time: 3d+3d+1d+1d=8d]

A2. Color: a) Chromatic systems and chromatic models.
                    b) How to optimize color quality in the final product (print or screen)

                    c) Psychology of color

                    d) Application study: Color palettes and their uses. Justified choices of colors in

                        leaflets, logos, and illustrations. Bad color palettes.

[^Estimated time: 2h+3h+2h+5h=1,5d]

A3. Print layout: a) Quick inspection of: Page layout: grids, paths,freeform. Difference

                                    between single-page and multi-page print.

                               b) Application: justified page layout choices.

[^Estimated time:1h+3h=0,5d]

A4. Typography: a) General elements of typography.Geometry and anatomy of fonts.

                                b) Brief review of cultural impacts on fonts' form.

                                c) Categorizing and choosing: Families of fonts and uses of every type.

                                    How to choose a font (height, size, weight, distance, shape, texture...) 

                                    Good and bad applications case study. Inspirational pieces.

[^Estimated time:1d+1h+4d=5d 1h]

A5. Depiction: a) Principles of visual language, and codes of visual communication (media-

                                other). Psychology and symbolism. 

                            b) Semiotics and symbols. Also, view logo libraries.

                            c) Logo design: structural elements, subtraction, translation of an idea to a

                                symbol. Inventive logos.

[^Estimated time:2d+2d+2d=6d]

A6. Study of materials and textures (fast, theoretical)

[^Estimated time:3h]

A7. Promotion, pricing and general work issues

[^Estimated time: - (found along the way for now)]

[A: Estimated time: 8d+1.5d+0.5d 1h+5d+6d+3h=21,5d=3w] -> 3 WEEKS THEORY

B. Practical Background

B1. Illustrator: a) Pen and brazier curves
                            b) Clipping masks, opacity masks, pathfinder

                            c) Ease in procession and creation of shapes and vectors, for various uses

                            d) Lineart and illustration

                            e) Typography processing

[^Estimated time: 1d+1d+1w+6d+6d=3w]

B2. Photoshop: a) Retouch of photos, realistic montage

                               b) Masks and brushmaking

                               c) Typography processing. Also download extra fonts and brushes (practical, 

                                   not fancy)

                               d) Search for possible gaps in my knowledge 

[^Estimated time: 6d+1d+3d+1d=1w 5d]

B3. InDesign : a) Basic tools and functions

                            b) Tips and tricks for print designs

[^Estimated time: 1w]

B4. Prepress optimization: halftones, spot and process color, trapping, bleeds

[^Estimated time :2d]

B5. Free-hand drawing studies

[^Estimated time: 2w]

[^Estimated time: 3w+1w 5d+1w+2d+2w=8w=2m] -> 2 MONTHS PRACTICAL EDUCATION

C. Portfolio construction and extension

Details to be programmed after the above practice ends

[^Estimated time: 3 months]

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So, if everything goes as planned today, in 3 months' time I'll be over "basic education" and will begin to freely build a portfolio. My synthesis, typography, Illustrator and InDesign need urgent work and I'll make sure to start with them... I can start studying the rest along with portfolio-adding breaks.

Also, note: for 11 days I might work slower than planned (I get to watch some unique lectures at the local research center...I hate to stay back on program, but this one is a huge chance for me)

It was a long post today...I hope it was useful (its beginning at least). Kandinsky is truly fascinating, once you get in his train of thought!