Transcripts
1. Let's Get Snap-Happy! A Beginner's Guide to Photo Manipulation: Hello, my name is Karim and I'm an expert in Photoshop
and photo manipulation. I've been in this
field for five years. In this course, we're going to cover conceptual
manipulation, will learn how to create an amazing and creative artwork by merging individual
assets together, go deeper inside
the aspects which are imaged, perspective,
composition, and creating the focal point will cover color,
harmonies and lighting, and how to emotions
inside the picture while using photo manipulation
in an image, e.g. anger or rage or
even depression. Then we're going to apply the concepts that
we have learned throughout the project
that we're going to do from scratch next time.
2. Building the Foundation: Mastering Image Formation Principles: First of all, for even knowing
about the basics, he said, have the manipulation
inside your art so we should know what
this manipulation mean. Isn't that right? So manipulation is putting
two or more photos together. I'll give you a whole
different output emerges and new photo that might give you a
different mood or tell you a story or novel. You can use the
art theme concept that you put images
together such that it gives you a
special environments such in a game or a movie. To be able to do this, you should have the basics
that you should know. First off, we're going
to start with the form. How can he is deforming the
conceptual manipulation? This is what's used for any
obstruction for any artwork. If you want to learn while
you're doing your sketch, go to draw or draw these abstract
geometric shapes so that you can visualize
the shape from them. Imagine the values
or your focal point, detailed pictures on the topic. We look for a topic, e.g. we can search for
abstract ships, will find that I'm erode
worker with three rocks. Or they could be
three buildings. It could be behind the
sun or a place that it's an imaginary form used to show my ID and appreciate
its aspects. Then how when I come to
use the form, as we said, we use it and doing
sketches from an artwork like the
initial stages of it. So it will be more clear
for the upcoming steps. That's it. I'll see you next lesson.
3. Composition 101: A Deep Dive into the Art of Arrangement: After we finished the formula, we're going to discuss
three important topics. And the three are
related to each other because their
purpose is that they distribute the elements to the artwork and it makes it
comfortable for the eye. And it shows the
most important part of the viewer that
he wants to see. And it explains your
idea of the topicals and composition means that you're composing your elements
in your artwork, arranged them by showing the
scale or changing the scale. You see which element
has the largest in size and which is the source of
your interest in your artwork. You use theories to guide you
in the correct composition. Either it is the
golden ratio triangle or the rule of thirds. The idea of the
rule of thirds is that you balance
your artwork and that you put the
correct elements in the spots you want
to highlight it. End points of intersection
between the columns and rows. Whatever you use them for, whatever you can do with it, you can put a particular gain. For instance, you can add any color for the
three that you want. You can put a rock in
the middle of the sea, any elements you choose, you can use it right away. You can put any
particular guide. You can put a rock in
the middle of the C. You can add a color
for the tree, anything that you suggest. You can add it anywhere
at anytime at any point. This is the rule of the third. This explains that
the elements are the focal points that
we use in the artwork. I can wait and go
around displays that it expresses its presence
in this important point. A second scene, I
want to explain what the artwork or the other
source of strength. I want to explain the artwork. The rule of third
explains to us that the elements and
the focal points that we use in the artwork, I can weigh it and put it in the place that it
explains its existence. That's an important point. Then we have another scene is the most second topic I would
like to explain for you, but I would like
to give examples, but I'll explain more later. And now we'll go to
our other point, which is the golden ratio. And the golden ratio is simply
getting my focal point or the detail that I
would like it to be focused on inside it. The golden ratio is considered
a chain of squares. Simply you get your focal
point or the detail that he'd like to get focused on inside
where that you choose. And then it weighs
and another square beside it as the high-flow catches a wider vision as
you can see in this artwork, the example of golden ratio, as we can see in this artwork, if we apply the golden ratio, we will discover
that my focal point is inside the character. The most important point in the artwork and a wider vision, the eye can see the rocks. If we look at this artwork and apply the golden ratio to it, we'll find that my focal point is present in this character and this whole part and is the most important
part of my artwork. Then in the sequence
and composition, the icons towards the rocks and the direction of the flow. And after that it comes
towards the pyramid here, which is the second
most important thing I haven't the artwork. And then there are
other examples of it in the composition. And these were the
most important things that people use in composition. Thank you for
attending this lesson and I'll see you next time.
4. Seeing the Big Picture: Understanding the Aspects of Image Perspective: We've explained the composition and define the rule of thirds and the golden ratio will try to connect it with respective. And we will explain
how both will be able to cooperate on a basis that you can find on an
exact knee and then alerts difference between
composition and perspective. If we talk about perspective, the perspective or the elements
that are in your artwork and look at how and
what and if it's the correct perspective or not. Let's go. If you come to see this artwork, I have something called
the vanishing point. This is the pivot point
and my perspective, it is supposed to be the point from which my
perspective emerges. How would I start
drawing the houses, drawing the road, distributing the people, achieving them. The more I enter my
vanishing point, the further the perspective is, and the smaller
the elements are, meaning the three
people here could be the same size as
this old character. But my perspective where my
situation is that it is the further and smaller because the direction is towards
the vanishing point. Another example
here is a character or a man which is
inside the forest and here is the
vanishing point and each element is an another, and every element remains
fixed in each perspective. That is the distance
between the whole trees of the way that reaches the point of the
whole point of view. And it tells me that
everything says that the direction goes to his
perspective of this point. If I drew another
character in this place, more diminished, How will perspective on competition
come together? This is an artwork we will start analyzing gets in terms of composition and
prospective together, I have my vanishing point
here and this area, the vanishing point
is a point that is an imaginary line that leads all the way to
the bottom of the road, telling me that this is
my perspective point. Now if I change the place
of something in the work, fine, get to in person
and let it go towards me. I will turn it against her and her cell will
look the second way if we come towards
him in-person to go right up to my
perspective direction. Vanishing points here. And the trend on
the course site. And the personal direction is that although it
is a composition, it is true if you can
apply the rule of thirds is really in
the right place. And my composition, because it's a little bit perspective.
It doesn't bother me. If I came and change
the place of the house, I would find that my vanishing
point had changed because all the elements I had were
putting in this direction. But I have a problem
in this part. And the way of perspective does not exist with me in
the perspective and the solution to it is
that I tried to change all direction of the elements towards the new vanishing point. The purpose of this topic
is that I'm explaining the vanishing point and the perspective, the
proper composition. It will build your
artwork that will remain balanced in
which all elements will gather in a certain plane in the composition you will see
and you will be the focus on the third part that
I want to explain what the composition and perspective
is the focal point, because the three are
always linked together. That's it. And I'll see you next lesson.
5. The Center of Attention: Harnessing the Power of the Focal Point: Now we've explained
perspective and composition and simplified
way and set their theories. But we have come to
a third coordinate, which is very important, which isn't the focal point, simply the focal point is the most important point
or area in my artwork. It always catches the eye of
the viewer of my artwork. Okay, how do I achieve the focal point or
how do I get no more correct since I have five factors that
make my focal point. The first thing is
the human figure. Wherever it is in my artwork, I equals two when I
put it in a place and proper composition
and perspective, its direction will be correct as a perspective and it
will be my focal point. The second thing I
need is contrast. The contrast is still
quite high wherever the focal point is when
we see the artwork, it, and I'll tell you how
to check the contrast. And the third thing
is this shape. If all my artworks
are organic, e.g. wood, green grass, or
any natural element. I go here and make
a house something unexpected industrial need, what's here is different. If I unexpectedly put here a house which has
a different shape and a different material to grab the attention
of the viewer. The first thing in the artwork, the second thing in the
aspects of shape is that it is consistent
of polygons, Bronx and then other shapes like squares or triangles, e.g. if I came to the
shape round factor, my eye will go to
the shape which is different from all the
shapes inside the artboard. First thing is values to explain the values in details
in the next lesson. But for this artwork, the tones and the lighting
were high at a certain place. Last but not least, the colors I have the
shapes close to each other and all the elements I have
in my artwork or organic, but the colors are different. E.g. if I have a forest
and the trees and green, if I pick a certain tree and color it in a different color, we'll be able to distinguish
it from all the other trees. These are the most
famous five types that make up the focal point. If you'd like a
stronger focal point, you can collaborate two types together in an artwork, e.g. using a different shape or a different color and
consciousness high and the values that are
high or the lighting strong together,
stronger focal plane. To recap the aspects that
strengthens the focal point, human figure, contrast, shapes, values, lighting, and color. But let's see clear
examples to see how the focal point is effective and how people use it
in their artwork. When we come to
see this artwork, we will find that the shape
here is my focal point. The artist chose
the shape and light to be the focal point, e.g. when we come to see here, we will find that he chooses
the contrast and chooses the human figure so
that the first thing that comes to my eyes
comes to the artwork. He begins to see this character, the contrast with him as high, and then he begins to
see this big element. And the third example here
is that the contrast for me is verified and the human
figure for me is verified. The values and lights have the highest need and this point, so I'll have a
strong focal point, which is the focal point that
the artist decided to use. The fourth thing I have here
is done all the artwork is organic and all these elements are the same and
for the same need, what can I use to
show my focal point? I have here the
artist used color. I use the light and the colors
to locate my focal point. The light is left here. The light here is on the left. This is the highest contrast
and the highest brightness, and the lighting is all
directed towards this region. The second thing is the color. The color I have
is different from the rest of the colors that
I used in the artwork. So we have the focal point
checked in this area. Be able to see other
artworks later, which consists of
perspective composition, focal point to show how the three are linked together
and their presence is important because
it helps you convey your idea in a more correct way. If you have an idea
in which you want to highlight a specific element, it will be your focal point, as we've talked about
creating the focal point. Now I'll give you the
correct composition and the right
perspective to achieve the most possible outcome for outward when we see the artwork, when we see the artwork here, my composition is
a rule of thirds. Character is present
as a block here, the human figure is the
highest contrast because it is verified that
the contrast is high. So my eyes will go towards
this part on the perspective helps my eyes if it is heading
towards this part as well, whether it is the shapes I use. So here's the
correct composition, correct perspective,
and the focal point, the plate is quite advanced. Here I have the focal
point in this part. Why? Because the perspective
here is directed like this. My eyes saw this as the
vanishing point that we explained and influenced by
it, the elements remain. The second thing used by the
artist is the human figure. As I said, in any human figure, as it is shown in this artwork, my eyes always go to it. So I use the perspective
and use the human figure. I also left the
contrast high and set the lights so that
he could let my eyes go to this part because it
was opening and breaking the light with certain
crops for the composition. If we apply the rule of third, then I find that my human
figure is in this part and this is the composition of the whole panel is balanced. The funnel is
balanced for me here, the human figure is in the important points
of the rule of thirds. And this tree is balanced
factor with the man is alone. That makes my eyes
comfortable in the artwork. After that, we'll
see another artwork. The artwork here is my focal point and the
composition of this beautiful, we'll hear the artist
played with three things, played with the light, with the color, and
played with the shape. Although here, human figures
are present in the artwork, but the shape is the biggest
obsession in the artwork. And the perspective helps
the shape in that it discovers that is emptying
the organic shapes around it. So my eyes go towards this area. The next thing is to
play with the color. The artwork I have is all
inclined to the warm colors, but I have a light color here and the lighting for me
and the contrast is high. So now I have a focal point and my perspective is correct and it all leads to the same need, which is the vanishing point. After that, the
rule of thirds is relatively achieved
as the composition of the earth work is
balanced because I have a whale and exactly
half of the artwork, it takes a large shape. So what is
proportionately balanced? And we'll see another
artwork here. It is not your composition, it is not using the
rule of thirds. We are here using
the golden ratio. For me, the human figure is the most important
part I want to show in my artwork
as a golden ratio. So I have a focal point here. And the artwork in terms
of composition and perspective is all for the
lead for a certain point. And based on it, I tried to adjust my introspective
and adjust the competition until the leg is facing is but he's standing
and watching the point. That's what it's called,
the vanishing point. So I have applied
the golden ratio and the vanishing
point, the perspective, the human figure
contrast light and color because I have the
color of the sun here it is bigger than my control
of my focal point and lets the viewer come
to this area exactly. And it lets the eyes of the viewer come to
this area exactly, which has the highest
value and dies contrast, contrast of a human figure
is very dark compared to the rest of the elements
that I have in the artwork. There are many examples to
connect the rule of thirds, composition and
perspective together. That's it. And I'll
see you next lesson.
6. Lighting Up Your Images: A Beginner's Guide to Contrast and Lighting Basics: Now we'll talk about the
values and the light. It also shows where
the dark areas, which areas have
the highest value, which have the highest contrast. And there is the focal point. It is the one that directly
the eye of the viewer. It shows which areas
have shadow in it, which have little darker value. But before we understand this, we should know that there are
two types of lights around. The first type, which is
the natural lighting, which comes from
the sun and moon. Any natural sources
such as fire and the other type is any
lighting resource that is done by humans, such as lamps or
any lighting bolts. This has a different effect than what comes from a
natural source. The material remains different
when the light is on glass and have a light reflection
that shows the shaded parts. And now we'll see the
lighting in this artwork. I simply have to choose from where the light
source comes from. If it comes like this, I will have this brighter area because the whole part is facing the lighting that I
have and this part will not be facing
the lighting at all. So it remains in the shadows, have something called the
base shadow and cast shadow, which is the transition between that element and the earth
or the second element. So it makes the shadow. And there are two
types of shadows that, there are two shadows
that mean about it. How do I succeed in this way, manipulation will come
to the subject of values and we must know that I have a thing called layers
in the artwork. These classes are foreground, middle ground, and background. Most of the events
that I have in the artwork happen in
the middle ground, that is in this area. They all have the middle ground
for from me is this part, and this part is the background, and the part near my
eyes is the foreground. What do I benefit from
this information? I'll benefit that the shift between each layer
and the layer of values will remain open to everything after
something natural, as long as my eyes
see less details, everything that happens has
an effect like the fate. As I see the distinct
needs light because the values in it are higher than the things
close to my eyes. I knew the values and I knew the source of my lighting,
which is the sun. How do I determine
my values are based on what I control the
values and my artwork. In order to see the
value in this artwork, I will come to the
hue saturation and I'll close the saturation. Why I have the tones
of the values. The highest value is the one
located here in the sun. It has the highest tones and
the lowest tones are here. Where's the foreground and
the one that is basically four from the sun or far
from my source of light. Biological analysis
of the source of lighting that I have,
which is the sun. The sun's rays spread
the trees like this. So when the clouds are affected, the element facing me will be
affected by the sun's rays. Even the personal figure
here is facing the sun. So I have this part
of the vehicle and the man will be shining. But I have this part in
the rays of the sun are in the shade covered by the
same part of the mountain. Even the human here
is facing the sun. So you have this part of the vehicle and the
man will be shining. Same story for the
part of this mountain, same story for the rock, and same story in this point, although this is not
facing the sun's rays, so there will be no
lighting directed added. Those values will remain darker than the
values that we said. We will remain a
little higher here. This is how we distribute lighting and values
and we know the areas will open and the areas we will darken based on my
lighting source. And another neat how
do I achieve that? The whole idea is that I did my artwork on layers
in the foreground, the middle ground, and
in the background. And between each
layer and the second, different values are in rate. And the value I
love this makes me feel that I am in this place. I feel that I can see something far away and I see
something close. Here's another example. This is an example of light. I have two light sources here. I have the light source from
this candle and this candle. I have a good natural light
source from the moon, okay? If we analyze the lighting
that comes from the moon, it will remain like this. This will affect me
how in the artwork. So how will this affect
me in the artwork, I can see that in
the backlight coming is affected by the
lighting from the moon. Well, on the other side, I have the candle and it
diffuses its illumination. Here I have a light source, so it diffuses is elimination, eliminating the parts
facing the light. This has been explained
in this section. It was clear to me in the
sport and it was in this part. Here. This part does
not direct the light that comes into the firing here. All this part is not facing, nor is the light source
that comes from above, nor does light source that
comes from the candle. And therefore, this
part will remain until this part becomes dark, okay, the lighting
is coming from here. And again, if we saw or less
than unbuilt lighting here, we will see that it is reflexive in response to all its elements. If I have a source of
light and need to know how the light is going and how
it affects my artwork, no matter how complex the artwork is or how
many elements there are. See a second example of
an artwork and we will start to see as values and
how to define the foreground, the middle ground,
and the background in this artwork will start to see how to achieve deaths
in my artwork. To achieve the depth, it means to start
to see differences in the classes that I
have in the artwork. The first thing I need
to see is the values. You close the saturation or make them black and white and
personal foreground, I have this sport is
the middle ground. I have this part
is the background. The port in this foreground
where the values remain dark, lighting remains dark
to my eyes compared to the second layers and the middle ground layer
that's achieved by the fact that the Earth and
the way that it is wrong in my artwork allows
me to know how to transfer between the foreground
and the middle ground. The scale is different with
me here in the artwork. It feels far away from
the road and as fuels far from the house compared to the
size and the way I see it, the values are completely opened and the part
of the background, which is this part
and the value is begin to open completely. And this gives me depths and
my artwork when we come to see a second artwork so
that I can see the value, we close the saturation. I know here that this part is the highest contrast
per meter and here is my focal point and my character and my values are, and that every part here is
built in the foreground. And the park behind here is the background of
the mountains here. So here the details
are not clear. And this is the second
technique so that I can achieve the depth
the further you go, the less details or less fear and unfair. And it
comes back here. I come to see my values and find that I have
a light source. This is what makes me. They're reflective of the light in this part of a character. This is considered
in my foreground so that it is why it's values
are the darkest thing. The further away we are, the more the artwork
begins to fade, and the less clarity we see it will come here again
in this artwork is clearly shows the strength of the three layers in relation
to any artwork I have here. This rock in this poem of this is considered to me
in the foreground, is values are the darkest
thing that does not move to the part of the
middle ground with more than 70% of the importance of the artwork and the one in which all the details
are important, the middle ground
and I have the part, the background and the
rocks which is far away. Even the details
are not very clear and it starts to fade a little and its values are opening. The depth is definitely verified here because I feel
that that's on the mountain here and feel the proximity of the
palm tree to my eyes. And my focal point is centered here on top
of the contrast. Here, all the artwork
is organic except here for something that
is considered industrial. My eyes, when you
come to the artwork, you will come to this part
with the difference in layers and transitions
between artwork. It will come to this part, will see difference
between layers and transition and the artwork. It will feel that the
artwork is in-depth. Also a change the way
the C used to leave a difference from where I can see the contrast
between the layers. And let me define that. We'll see in the form of
the artwork that is here. We'll see here in the
form of the artwork, I will find that the path
that is being achieved here, somehow or finding the path
is being achieved here. And the part that is
drawn in the large shape, which is almost a bombed
or something like that, is a graphic need size of which has its presence in perspective. And that is, values are
considered in the foreground. Of course, dork degrees, a figure who is
standing and after him, the Arabic that is standing
is a comparison that the distance between the figure
that is here and there, that is there and it's killed. This hole is in my background. Let's go to the
artwork so we can see the values and how can we
see the depths achieved? This part of the foreground is the closest thing to my eyes, the values behind it, or the therapist thinks,
the further we go, a second layer will remain here and it will be the
middle ground layer. This layer, the last layer is
considered the background. That's it. And I'll
see you next lesson.
7. Adding Color to Your Life: Mastering the Basics of Color Theory: Now we're going to talk
about a very sweet topic, which is about the
colors and how did the colors come
and choose together? And based on what
psychology do we put the colors together
in the art board? Let's understand color
from the beginning. Color consists of four things. Color is an expression of you saturation value
and temperature. Hue is the color of this
in-degree color is red, green, yellow, or orange, anything
like this is called the hue. The saturation is the degree of strength of the same color. If it is light red, dark red, light blue, navy
blue, dark blue. The value or brightness
is the degree of white it into the color e.g. if this color, if
its value is 75%, it means that 25% of it is blue and the rest is why you
will see an example now. So we can see it
more realistically. I have their issues about
this which are etch. And be the v indicates the brightness or
the imposed value. My hue, e.g. is the color wheel. This is my here,
these are my colors. This is yellow. The blue strand comes
back to the red. This is how I control my hue. The S is the saturation,
the coldness ratio. Is it dark? Is it light? So I can show this as the b is the brightness or is a more
correct meaning is its value. It is black. So you can see the direction and the color wheel goes
from black to white. It does not control
the color issue. It is 1% white and zero per cent white means 100%
black and so on, 20% white like this, 30% or 40% with the
color like this, 70% white with color, the temperature is
the fourth thing, which is the hot or
cold color in a second, meaning there are warm
colors and cool colors. The cold colors, such
as blue and green, are detected below
the color wheel. The previous part was
referred to coat colors, and the second part
refers to warm colors. If it's close to the fire or close to the sunset or sunrise, it consists of yellow and red. So how do I combine the colors together based on
what I said, e.g. yellow with green or
blue with yellow. This is called the
color harmony. How do you combine these
colors in your artwork? The most famous compositions or harmonies that I work with
are the complimentary, the analagous, the Triassic, the split complimentary,
and the monochromatic. Okay, we will explain each
one now expressing what? An example of it, okay, we will explain
each one now. What does it express
an example of? We will simply hold this
monochromatic if it chooses one color but
plays in as values. I mean, I chose now the blue color and
play with his grades. These will be my values as
I see here, 100 per cent. This is the color
that I choose for each stadium and
its training and its values are all different
grades to use complimentary. This is complimentary color on the color wheel when taking the color assigned
to the other color, which means I'm going to take
the red For this example, this color, this would be complimentary to the rest of the color wheel,
the analagous. I take the three
colors next to each other in the color wheel,
wherever they are. And can take this group, or I can take this group, and I can take this group. And so I take three colors together and each one has
a different meaning and shows which is
inclined to the analog to try it because the
triangle I drew it like this. Or maybe it can be like this. It is possible to
take three colors that are compatible with each other and via triangle and the shape of
the color wheel, the split complimentary
is a bit tried it, but he swears by me
the complimentary. I mean, e.g. this is complement. That's it. And I'll
see you next lesson.
8. In Harmony: Understanding the Principles of Color Harmony: Now we're going to talk about the harmonies of the color,
as you already know, the primary and
secondary colors, the warm and cold colors. So how can I match the colors in my artwork based on
the colors I chose? Of course, colors is an
open science and there's no artist applies to
what colors to use, but at least there's
a combination of colors of success
when you use them, this is the most appropriate
need for your artwork. Primary naturalization
have four types, which are the analogous, complimentary, triadic
and monochromatic. The first type is the analog. Analog. This is
simply that I take three consecutive colors
in my color wheels. It is yellow and orange here. That are written. This is the way we take
three consecutive colors in the color wheel that make
a very special companies. These are my examples, the blue and green, and here
the red, yellow, and pink. These are the three
consecutive colors that we use them for
different users. Same topic here. All this is analagous. The second type is
the complimentary, which compliments the
colors in my color wheels. We assume that this artwork is blue and the color in
front of it is red. If I selected the
color yellow, e.g. then blue is in front of it. The important thing is that
I see the color wheel, complimentary color to me, and this is an example
of the mixture. This part is blue and this
part is somehow orange. After that, we have
the monochromatic where I choose the color
and playing and spellings. One color but with
different values. In this case it is blue, but in a different palettes here for the same color as mine, but here in a different palette for the same color as mine, the same thing here. This is orange, different
shades of the same color. Here it is orange or yellow. Number four for me, as a triadic is
simply three colors chosen that form a triangle
in my color wheel, it is mostly used
in fantasy films or any film that includes magic. These are the different
types of colors. Here are all combinations
of the tribe. This is red, this is
blue, and this is yellow. They can work for
me as my theme. Most of the powerful
artworks or that include magic use the
triadic strategy, but it is normal that we use the second color is
only, that's it. And I'll see you next lesson.
9. Setting the Mood: Using Color to Create Emotion in Environmental Design: After we talked about
colors and naturalization, we must know that the
environment has viewing. It must know that
no matter how we know about these naturalization, no color will be able to
convey a certain feeling to me or any combination that can convey a certain feeling to me. Let's go see the examples. We will find that we have
seen with the same element, the same perspective,
the same character, the same focal point, and somehow different values according to lighting
and according to colors. But I mean, even if
the senior is one, the combinations of the
colors made a difference. It made me feel
different things. When we see this artwork, we will see that the
environment feels depressed, hope or sadness. Joy can feel it and roll it
feeling you can count anger. Fear can feel that
there is no life, can feel that I'm in
something mysterious. All of this isn't
the same scene, but here I used
monochromatic red. Here I use monochromatic blue. Here I used the analog is
between red, blue and yellow. Here I'll find that I use
the combinations of colors, but I need to know
that this will have a different
effect on my artwork. It is possible that
the same scene here remains the
same spirit here. These are my values of
the artwork was here. The artist used a
different combination of colors that inspires me every time and every time
is affected by a different feeling and conveys
to me a different effect. This means that the environment
is very affected by the choices that I make to come here with the same artwork. It seems seen the island with the same elements here
in the foreground. Here's the middle ground,
and here's the background, or the same combination. Here you will find colors and lighting with different use. It will be different every time. It will give me a different
feeling every time, even though it may
be the same palette with respect to colors. But how could I
use these colors? And this combination gives me serious feelings or might
even be sad or anger. The same story here, the same scene, but here's
the combination of colors, lighting and composition every time and then every artwork, my eyes can see it
in a different way. Every hour I feel
something different. I can feel hope, I can feel
fear, I can feel numb. Always follows the
psychology of colors and the construction of the colors that you chose in
your combination. You must know that
each color has a psychological
effect on the eye. Each color of the
hour is expensive, specific need some
colors express rage, some colors express joy. All the combinations
are different than all have different uses of
lighting and color. They can change the
message that I want to deliver to the viewer's
eye in my artwork. That's it. I'll see you next course.
Karim Magdy ✅, Check Profile For Free Cookies
