When You Dsign Something in Art How Do You Make Concept

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Concept pattern tips for artists

The principal task of a visual development environment creative person working in animation is to conceptualise, design and execute a believable earth for characters to live in. But the success of these surroundings concepts doesn't rely solely on the drafting skill level of the artist – information technology's the whole package that makes the last product work effectively.

Visual development is simply the visual development from an thought to the final production. So it'south crucial that the structural makeup of the artworks in development occur in this social club: concept, design, technique. To retrieve technique is the key to the success of the artwork is totally missing the mark.

Hither are my primal tips that betoken towards a successful process in creating strong concepts and compositions for blitheness.

01. Concept art = concept + art

Here the primary character is a design demand; the secondary ane is a blueprint want

Concept art is not just about the epic, or its cute execution. Information technology'south artwork that grows out of a design procedure, well rooted in an idea that supports the story. The priority of concept tin can be identified thus: needs and wants. What the story needs has to exist conceptualised first. The creative person then provide their blueprint wants that focus and support the story.

And then in the paradigm above, the demand for this image is to blueprint an Asian fairy and her magical environs. A second character is a design want, to exemplify the scale and dimension. The pattern pick of the secondary character creates a relational affinity and familiarity betwixt the two.

02. Do dynamic research

Sketch while doing your research and so you lot don't drown in reference material

Research breeds authenticity in the design evolution, from concept to the final product. Like to the old adage about knowing the rules first earlier i can break them, I have to learn what's existent before I can pattern, or redesign, an object or environment.

Research gives a vision of functionality. What makes it dynamic is when I start sketching and creating thumbnails while doing inquiry. This keeps me from getting bogged downwardly in reference material. I trust my artistic instincts when I hit a blueprint target from reference materials, and I finish looking for more than and start sketching. My arroyo towards blueprint improved by doing this.

03. Think within the box

An within- and outside-the-box retelling of the Titanic story

Every bit visual development artists and concept designers, we're always told to think exterior the box. But I believe this is only possible if the designer knows what'south inside the box. And non only to know what'due south within, but also understand how those objects inside the box work.

I've learned over the years not to go outside the box if what's inside it yet works. At the end of the day, it'southward how the story/thought could be told more than effectively that influences your design choices, not whether it'due south a safe or 'out there' idea.

These quick sketches requite me 2 jump boards on retelling the story of the Titanic. The first image is the within-the-box translation, with a literal narrative of its present underwater situation. Alternatively, I tin can become for the outside-the-box option by creating a juxtaposed imagery of its supposed description and its present-24-hour interval situation, encapsulated in a classic send-in-a-bottle setting.

04. Design loosely

Design with your arm but draw with your wrist

One key discipline I've learned over the years is to blueprint with my arm and draw with my wrist. There's a dynamic residue of freedom and command in my wrist, and a dynamic balance of liberty and command in finding the right design language when the arm is moving loosely. When I become lazy and miss the arm out, the artwork tends to exist static and lifeless.

These images are from a 90-minute demo process in a live workshop. The 18x24-inch canvas gave me a good corporeality of arm flexibility. Then I took a hi-res iPhone photograph and transferred the file into Photoshop for value and colour.

05. Understand composition

Perspective, staging and value are key to adept composition

Getting to grips with composition is vital to the structural force of design. Composition is not just a standalone term that just describes an system of forms and shapes. Instead, realise that composition is perspective, value, staging and colour arranged harmoniously, to tell the story or idea more efficiently.

Perspective is the placement of the camera and what blazon of lens is being used. Value translates the application of lighting. Staging is the arrangement of dissimilar elements in the sheet using the combination of shapes, sizes and overlaps, creating depth, dimension and remainder. Colour is the harmony of palettes and temperatures.

06. Use perspective

A high-angle shot suggests invincibility, forcefulness, confidence and leadership, an heart-level shot gives a perception of normality, neutrality, and is relatable, and a low-angle shot suggests vulnerability, weakness, danger and loneliness.

Perspective has a potent psychological effect on viewers' perception. Higher up, diverse photographic camera placements of the same subject and environment give unlike viewer perceptions. The viewpoint is the audience'due south eyes.

07. Play with the viewer'southward perception

My original idea for this prototype was to place the male person subject at the aforementioned distance from the camera, only staged right below the lady on the bridge. Yet this gave the impression he'd already reached his destination. And then instead I moved him only a petty fleck to the left. It gave a hint that he'due south not completed his journey, but he's about to achieve his destination very soon. Information technology also helped to create a perception of move in the painting.

Visual aesthetics is the study of how compositional elements (value, perspective, staging and colour) collaborate and the audience'south reactions to them. It'due south non enough to understand composition and expect to exist constructive visual storytellers. Rather, it's important to understand perception – how the audience reacts to limerick.

Improper employ of composition will upshot in an audience's selective perception. Selective perception results in selective context. And selective context means the audience volition have dissimilar interpretations of the story/idea. With the proper utilize of visual aesthetics, the compositional choices become intentional and directional towards intended perception.

When the artist controls selective seeing, the visual message becomes subjective. Subjective means controlled perception. Controlled perception results in controlled context, and this means the audition volition accept a singular interpretation of the story idea.

08. Know the rules of value

Your value limerick will determine the success of your colour limerick

Value is the lightness or darkness of a colour. Every colour has a corresponding value and that lightness or darkness depends on the amount of lighting applied to the colour. The iii important rules of value are:

1. It controls focal points – commonly the brightest expanse, the highest contrast, or when a predominant value encloses an opposite value
2. Value gives the illusion of three-dimensional form, when it shows the surface beingness striking by calorie-free and the surface under the shadows
3. Value creates the illusion of depth (altering the range of dark and lite creates distance)

The perception of mood or emotion of the story beingness told in the canvas is established by the practical lighting translated into values. The success of colour composition depends on the value limerick.

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Armand has been an animation professional person for 26 years and is currently working at the Walt Disney Animation Studios equally a senior visual evolution artist.

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Source: https://www.creativebloq.com/how-to/concept-design-tips-for-artists

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