1 00:00:00,480 --> 00:00:08,380 In 2 00:00:09,560 --> 00:00:10,520 the previous lesson, 3 00:00:11,180 --> 00:00:13,400 we took a look at an overview of poster design. 4 00:00:14,060 --> 00:00:15,820 In this lesson, we'll look at creativity, 5 00:00:16,420 --> 00:00:17,240 the creative process, 6 00:00:17,560 --> 00:00:19,640 and developing alternative design concepts. 7 00:00:21,280 --> 00:00:22,260 For our final project, 8 00:00:22,900 --> 00:00:27,380 I'm going to be developing a poster for a hypothetical exhibition of 9 00:00:27,640 --> 00:00:28,700 Albers color experiments. 10 00:00:28,940 --> 00:00:33,000 We'll be utilizing two of the color experiments we did earlier in the course 11 00:00:33,000 --> 00:00:37,740 and combining them with typography to create two different poster concepts. 12 00:00:38,500 --> 00:00:42,200 To begin that process of designing these hypothetical exhibition posters, 13 00:00:42,520 --> 00:00:45,500 we're going to take a look at this book, The Universal Traveler, 14 00:00:45,900 --> 00:00:50,660 and talk a little bit about the creative process and how you can get from an idea that's in your head 15 00:00:51,340 --> 00:00:52,400 to sketches on paper, 16 00:00:52,640 --> 00:00:55,340 and finally, to a digital rendering of the poster. 17 00:00:55,580 --> 00:01:00,720 I was introduced to The Universal Traveler when I was in art school in the 1970s. 18 00:01:01,360 --> 00:01:02,600 And as you can see from the cover, 19 00:01:03,160 --> 00:01:04,360 it's a bit of a hippie book. 20 00:01:04,740 --> 00:01:06,380 It definitely was a book for its time. 21 00:01:07,360 --> 00:01:09,040 So we see in the cover the title, 22 00:01:09,240 --> 00:01:12,300 The Universal Traveler, a soft systems guide to creativity, 23 00:01:12,680 --> 00:01:15,100 problem solving, and the process of reaching goals. 24 00:01:16,020 --> 00:01:17,640 And that's really what the book is all about. 25 00:01:17,960 --> 00:01:22,640 It tells us how to get from A to Z in a very systematic way. 26 00:01:22,640 --> 00:01:25,900 Now, you can imagine for someone from art school, 27 00:01:26,060 --> 00:01:27,760 this is fairly revolutionary. 28 00:01:28,640 --> 00:01:31,600 You know, we go into art school thinking about working intuitively, 29 00:01:32,660 --> 00:01:33,920 but sometimes struggling. 30 00:01:34,800 --> 00:01:40,720 So for me, this book was a way of formalizing how to get from point A to point Z 31 00:01:40,720 --> 00:01:41,980 through the creative process. 32 00:01:44,180 --> 00:01:51,720 The concept for this book is very interesting. 33 00:01:51,720 --> 00:01:54,620 It looks at the creative process as a journey. 34 00:01:55,340 --> 00:01:56,140 It kind of makes sense, 35 00:01:56,200 --> 00:01:59,880 right, to go from point A to point Z through a series of steps or stages. 36 00:02:00,740 --> 00:02:01,700 They use a map. 37 00:02:04,860 --> 00:02:06,540 You can see my notations, 38 00:02:07,100 --> 00:02:08,200 my underlining. 39 00:02:12,580 --> 00:02:14,100 Now here's where it really gets interesting. 40 00:02:15,020 --> 00:02:16,940 So we have the design process. 41 00:02:17,260 --> 00:02:18,620 It's a problem solving journey. 42 00:02:18,860 --> 00:02:27,280 And this book defined the creative process or the design process as a series of what they call energy states. 43 00:02:28,400 --> 00:02:32,780 Each energy state informs the next in a very linear fashion, 44 00:02:33,000 --> 00:02:34,480 so very easy to understand. 45 00:02:35,760 --> 00:02:37,680 You start by accepting the situation. 46 00:02:37,960 --> 00:02:39,760 As a student, you accept the assignment. 47 00:02:40,060 --> 00:02:42,140 You say, yes, I understand what I'm going to do. 48 00:02:42,840 --> 00:02:43,640 You analyze, 49 00:02:44,460 --> 00:02:45,840 what is the assignment all about? 50 00:02:46,060 --> 00:02:48,120 What do I need to do in order to accomplish it? 51 00:02:48,940 --> 00:02:49,760 You define it. 52 00:02:50,780 --> 00:02:53,500 You figure out specifically what you need to do. 53 00:02:53,840 --> 00:02:55,640 What is the assignment really about? 54 00:02:56,260 --> 00:02:57,500 You go deeper into it. 55 00:02:58,180 --> 00:02:58,980 You ideate, 56 00:02:59,420 --> 00:03:00,960 meaning to create alternatives, 57 00:03:01,420 --> 00:03:02,980 right, to try different things. 58 00:03:03,560 --> 00:03:06,680 So after you've accepted and analyzed and defined, 59 00:03:07,120 --> 00:03:08,500 now you're coming up with alternatives. 60 00:03:09,460 --> 00:03:11,160 In our case, that's going to be sketching. 61 00:03:11,900 --> 00:03:14,240 Then you make a selection from those sketches. 62 00:03:14,240 --> 00:03:15,440 You say, which one is best? 63 00:03:15,880 --> 00:03:17,340 Which one do I want to take further? 64 00:03:17,880 --> 00:03:18,920 And then you implement. 65 00:03:19,400 --> 00:03:19,920 You execute. 66 00:03:20,880 --> 00:03:21,760 You take your sketch, 67 00:03:22,060 --> 00:03:23,980 and you turn it into a digital design. 68 00:03:24,920 --> 00:03:26,120 And then finally, you evaluate. 69 00:03:26,720 --> 00:03:27,940 You take a look at what you've done, 70 00:03:28,380 --> 00:03:29,380 and you ask yourself, 71 00:03:29,800 --> 00:03:31,900 have I reached the goals that I set out to reach? 72 00:03:34,960 --> 00:03:40,500 Interesting, a little calendar page from 1977. 73 00:03:40,980 --> 00:03:47,040 Here we see a map of the creative process. 74 00:03:48,280 --> 00:03:50,920 We go from the acceptance of the situation, 75 00:03:51,540 --> 00:03:52,700 to the analysis, 76 00:03:53,700 --> 00:03:55,060 to the definition, 77 00:03:55,900 --> 00:03:58,960 to the ideation, the selection, the implementation, 78 00:03:59,500 --> 00:04:00,780 and back to the evaluation, 79 00:04:01,300 --> 00:04:03,460 with side notes all the way through. 80 00:04:04,280 --> 00:04:07,940 Here, 81 00:04:08,340 --> 00:04:10,540 we get into something also very interesting. 82 00:04:11,500 --> 00:04:13,740 We find out that the creative process, 83 00:04:13,960 --> 00:04:16,240 the design process, is not purely linear, 84 00:04:16,860 --> 00:04:18,080 but in fact, 85 00:04:18,560 --> 00:04:20,600 can have a series of feedback loops. 86 00:04:21,700 --> 00:04:26,520 So some people could say it's literally from going from A to Z in a linear fashion, 87 00:04:26,780 --> 00:04:27,540 in a straight line. 88 00:04:28,580 --> 00:04:31,040 Some people could see it as a circular form. 89 00:04:31,720 --> 00:04:35,100 I'd like to see it as a series of feedback loops, 90 00:04:35,220 --> 00:04:38,780 where you move from one energy state to another, 91 00:04:39,480 --> 00:04:41,620 always with the possibility of going back, 92 00:04:42,020 --> 00:04:44,560 and then going forward again, all the way to the end. 93 00:04:46,000 --> 00:04:47,960 That's really defined my creative process. 94 00:04:48,240 --> 00:04:49,100 It's how I work. 95 00:04:49,260 --> 00:04:50,060 It's how I'm comfortable. 96 00:04:50,780 --> 00:04:54,640 And this book gave me permission to think of it this way. 97 00:04:55,640 --> 00:04:59,780 The book goes on to talk more about the creative process, 98 00:05:00,020 --> 00:05:01,740 giving you tips about how to get through it. 99 00:05:02,740 --> 00:05:04,460 But essentially, that's it. 100 00:05:05,780 --> 00:05:08,320 So far, we've accepted our assignment. 101 00:05:08,960 --> 00:05:11,360 We've analyzed it, and we've defined it. 102 00:05:11,540 --> 00:05:12,720 We know what we're going to be doing, 103 00:05:13,220 --> 00:05:15,900 using a color theory experiment 104 00:05:15,900 --> 00:05:17,560 that we did earlier in the course, 105 00:05:17,640 --> 00:05:20,160 combining that with typography to make a hypothetical 106 00:05:20,600 --> 00:05:21,640 exhibition poster. 107 00:05:22,220 --> 00:05:24,160 So now we're going to proceed to sketching, 108 00:05:24,500 --> 00:05:26,440 making alternative design concepts. 109 00:05:26,640 --> 00:05:29,780 What the Universal Travel called ideation. 110 00:05:31,580 --> 00:05:35,280 I've got some tools with me today, 111 00:05:35,420 --> 00:05:37,840 some color markers, because I'm going to be working in color, 112 00:05:38,300 --> 00:05:39,500 and pencils. 113 00:05:39,680 --> 00:05:40,640 I like to work with pencils. 114 00:05:41,480 --> 00:05:42,540 It's comfortable. 115 00:05:43,260 --> 00:05:44,100 I can make a mark, 116 00:05:44,180 --> 00:05:45,580 and I can erase it if I want to. 117 00:05:45,840 --> 00:05:46,660 But most of all, 118 00:05:46,760 --> 00:05:48,720 I like the friction of the pencil on the paper. 119 00:05:51,100 --> 00:05:55,380 I have many students now who work with Procreate, 120 00:05:55,680 --> 00:05:57,560 who do all of their sketching on the computer. 121 00:05:57,940 --> 00:05:59,400 I still prefer to do it old school. 122 00:06:01,280 --> 00:06:11,480 So I know that this poster is going to be vertical format. 123 00:06:12,300 --> 00:06:14,520 I know the elements that are going to be included, 124 00:06:14,700 --> 00:06:16,000 so I can just start sketching that. 125 00:06:16,680 --> 00:06:19,880 When I'm sketching, I'm basically drawing very roughly. 126 00:06:20,300 --> 00:06:24,760 And I like to draw at a size where I'm comfortable. 127 00:06:25,560 --> 00:06:26,940 I'm not just using my wrist. 128 00:06:27,080 --> 00:06:27,980 I'm using my whole arm. 129 00:06:28,680 --> 00:06:31,800 And I'm also looking back to those color experiments I did earlier, 130 00:06:32,220 --> 00:06:33,880 and focusing on those ideas, 131 00:06:34,180 --> 00:06:37,120 and try to implement them here in the sketch. 132 00:06:38,340 --> 00:06:41,880 So one of the experiments we did was to make three colors look like two. 133 00:06:42,320 --> 00:06:46,260 And you remember these experiments with compositions that were strictly side by side. 134 00:06:50,180 --> 00:06:57,900 So my sketches are going to simply be compositions of those ideas. 135 00:06:59,420 --> 00:07:02,040 And then down below, 136 00:07:02,540 --> 00:07:06,220 I'm going to put in some very basic little squiggles 137 00:07:06,220 --> 00:07:08,640 to suggest the idea of typography. 138 00:07:20,480 --> 00:07:25,940 Something like that. 139 00:07:28,140 --> 00:07:34,020 And just to think about some terminology back here. 140 00:07:34,860 --> 00:07:37,360 Now this structure that I've just sketched out 141 00:07:37,360 --> 00:07:39,900 is very classic poster design. 142 00:07:40,740 --> 00:07:42,000 It has an image on the top. 143 00:07:42,540 --> 00:07:43,640 It has some type on the bottom. 144 00:07:44,200 --> 00:07:45,740 And it's based on a center axis. 145 00:07:46,600 --> 00:07:47,920 Couldn't get more simple than that. 146 00:07:47,920 --> 00:07:51,560 And there's nothing wrong with this at all. 147 00:07:52,080 --> 00:07:54,140 Most posters we see on the street, 148 00:07:54,320 --> 00:07:55,560 if you walk around New York City, 149 00:07:55,720 --> 00:07:57,440 you look at a bus shelter, 150 00:07:58,620 --> 00:08:02,420 oftentimes we'll have that same exact compositional strategy. 151 00:08:02,760 --> 00:08:03,440 A center axis, 152 00:08:03,900 --> 00:08:05,760 image on top, type on the bottom. 153 00:08:07,860 --> 00:08:09,300 An alternative, 154 00:08:10,000 --> 00:08:12,340 again, just thinking about that same proportion. 155 00:08:13,140 --> 00:08:16,960 Alternative might be to say, 156 00:08:17,260 --> 00:08:19,200 well, rather than having it like that, 157 00:08:19,720 --> 00:08:20,800 exactly like that, 158 00:08:21,500 --> 00:08:23,040 becomes asymmetrical. 159 00:08:24,360 --> 00:08:27,260 And I also remember that some of my compositions, 160 00:08:27,560 --> 00:08:28,760 some of my color experiments, 161 00:08:29,060 --> 00:08:30,120 had connections. 162 00:08:32,440 --> 00:08:38,760 So now I pushed the image on the top to the side. 163 00:08:38,760 --> 00:08:42,040 It's now bleeding off one side over here. 164 00:08:42,880 --> 00:08:47,220 Now the typography is free to move around as well. 165 00:08:47,340 --> 00:08:48,860 Does not have to be centered anymore. 166 00:08:49,840 --> 00:08:51,080 And so just as an idea, 167 00:08:51,240 --> 00:08:52,720 I'll pick up on the center line. 168 00:08:53,760 --> 00:08:56,540 Now my typography can exist over here. 169 00:08:59,040 --> 00:09:00,880 Something like that, just as an alternative. 170 00:09:01,580 --> 00:09:03,200 There are two different approaches to look at. 171 00:09:04,220 --> 00:09:04,920 Try a couple more. 172 00:09:09,300 --> 00:09:12,800 What happens if now, 173 00:09:13,140 --> 00:09:15,860 if instead of having these rectangles 174 00:09:15,860 --> 00:09:18,160 be in an X and Y alignment, 175 00:09:18,340 --> 00:09:20,900 in other words, perpendicular or parallel to the edges, 176 00:09:22,720 --> 00:09:25,020 I say, well, what happens if they're actually on an angle? 177 00:09:29,140 --> 00:09:33,940 Again, thinking of that as a connection. 178 00:09:34,380 --> 00:09:37,420 Just putting a little bit of detail into this. 179 00:09:38,940 --> 00:09:39,800 And seeing again, 180 00:09:40,540 --> 00:09:41,380 where does this lie? 181 00:09:42,120 --> 00:09:44,420 Now this idea of putting things on an angle, 182 00:09:44,840 --> 00:09:48,080 that goes back to the Bauhaus and to a particular 183 00:09:48,080 --> 00:09:51,160 kind of design that's related to Russian constructivism. 184 00:09:51,680 --> 00:09:54,480 Now look at the difference between these compositions up here. 185 00:09:54,640 --> 00:09:57,040 Very straight, very horizontal, very stable, 186 00:09:57,600 --> 00:09:57,900 right? 187 00:09:58,360 --> 00:10:00,700 As soon as you move the picture, 188 00:10:00,840 --> 00:10:02,880 the image, to the side and have it bleed off, 189 00:10:02,920 --> 00:10:04,480 you lose a little bit of that stability. 190 00:10:04,800 --> 00:10:06,940 No longer equal amounts of negative space on either 191 00:10:06,940 --> 00:10:08,080 side, top and bottom. 192 00:10:09,640 --> 00:10:11,780 Now the type is shifted to the side, 193 00:10:12,220 --> 00:10:14,360 more asymmetrical use of negative space. 194 00:10:14,860 --> 00:10:15,740 And then down here, 195 00:10:16,400 --> 00:10:20,220 when we take the image and the typography and we place it on an angle, 196 00:10:21,860 --> 00:10:23,340 we're kind of disrupting everything. 197 00:10:23,720 --> 00:10:26,040 We're saying the world is no longer like what it was. 198 00:10:26,600 --> 00:10:29,680 And that's kind of what the constructivists and the Bauhaus designers were saying. 199 00:10:30,340 --> 00:10:32,020 We're looking at the world and saying, 200 00:10:32,440 --> 00:10:33,740 it's not all horizontal, 201 00:10:33,960 --> 00:10:34,720 it's not all vertical. 202 00:10:34,980 --> 00:10:37,560 We're not always in alignment to the ground. 203 00:10:38,460 --> 00:10:40,860 Everything doesn't have to be perfectly horizontal and 204 00:10:40,860 --> 00:10:41,080 vertical. 205 00:10:41,200 --> 00:10:44,720 In fact, you can call attention to something by making it angled. 206 00:10:45,580 --> 00:10:46,320 Now think about that. 207 00:10:46,380 --> 00:10:47,480 If you walk down the street, 208 00:10:48,040 --> 00:10:51,320 most of what we see is vertical and horizontal, 209 00:10:51,700 --> 00:10:52,840 perpendicular to the ground. 210 00:10:53,500 --> 00:10:56,960 So to see something on an angle calls attention to it. 211 00:10:57,460 --> 00:10:58,820 It says, this is different. 212 00:10:59,940 --> 00:11:01,540 One more idea. 213 00:11:04,040 --> 00:11:09,420 Try a different angle. 214 00:11:10,260 --> 00:11:12,680 Actually, I'll try something really dramatically different. 215 00:11:14,260 --> 00:11:16,760 Just as if you were looking at something on a table, 216 00:11:17,060 --> 00:11:19,600 you don't necessarily always look at things that are perfectly flat. 217 00:11:20,780 --> 00:11:22,120 It's hard to dimensionalize. 218 00:11:23,120 --> 00:11:26,620 If you're looking at something from an angle, 219 00:11:26,620 --> 00:11:29,780 part of the composition is going to appear large and part small, 220 00:11:29,900 --> 00:11:32,500 as if there's a vanishing point in the background. 221 00:11:33,820 --> 00:11:51,960 Now the typography could even do something interesting too, 222 00:11:51,960 --> 00:11:56,240 where the typography goes from large to small. 223 00:11:58,460 --> 00:12:02,360 Maybe it bleeds in like that. 224 00:12:04,440 --> 00:12:10,200 So four similar but different design concepts, 225 00:12:10,400 --> 00:12:11,700 all for the same content. 226 00:12:12,620 --> 00:12:13,620 Different things you can do. 227 00:12:14,400 --> 00:12:17,620 I gave myself permission down here to do something that's different. 228 00:12:18,100 --> 00:12:28,860 Gave myself a lot of permission over here to actually create space illusion by changing the way we perceive the picture plane. 229 00:12:29,120 --> 00:12:30,520 It's no longer perfectly flat. 230 00:12:30,660 --> 00:12:31,380 Now it's angled. 231 00:12:34,400 --> 00:12:40,140 So as we mentioned, 232 00:12:40,300 --> 00:12:43,100 we're developing two different poster concepts. 233 00:12:43,960 --> 00:12:45,700 Two different designs. 234 00:12:46,420 --> 00:12:49,900 And we'll be using two of different color theory experiments. 235 00:12:50,320 --> 00:12:52,480 So in the first set of sketches, 236 00:12:52,920 --> 00:12:56,960 I was using the experiments of making three colors look like two. 237 00:12:57,720 --> 00:12:58,740 In this set of sketches, 238 00:12:58,740 --> 00:13:02,300 we'll be working with the illusion of transparency and seeing how that goes. 239 00:13:03,660 --> 00:13:04,080 So again, vertical format. 240 00:13:04,760 --> 00:13:12,180 And to be honest, 241 00:13:12,300 --> 00:13:13,640 if you wanted to work horizontally, 242 00:13:13,760 --> 00:13:14,180 you could. 243 00:13:14,360 --> 00:13:15,860 Although when I think of posters, 244 00:13:16,020 --> 00:13:18,020 I think of mostly vertical format posters. 245 00:13:18,160 --> 00:13:19,760 It's what fits into a bus shelter. 246 00:13:20,920 --> 00:13:25,220 There are definitely posters that go into other situations that are horizontal, 247 00:13:25,360 --> 00:13:26,680 but we'll stay vertical for now. 248 00:13:27,960 --> 00:13:29,340 And in this case, 249 00:13:29,420 --> 00:13:31,260 we're thinking about another one 250 00:13:31,260 --> 00:13:32,920 of the color theory experiments, 251 00:13:33,240 --> 00:13:34,340 the illusion of transparency. 252 00:13:35,680 --> 00:13:36,480 So right away, 253 00:13:37,060 --> 00:13:38,980 if you remember our experiments, 254 00:13:39,440 --> 00:13:42,920 they did not follow the x and y-axis anymore. 255 00:13:43,060 --> 00:13:44,800 They weren't aligned to the edges of the paper. 256 00:13:46,420 --> 00:13:49,920 So I can go back to my center axis concept 257 00:13:50,400 --> 00:13:52,240 of having things down in the middle of the page. 258 00:13:54,680 --> 00:13:57,800 Maybe just think about overlappings 259 00:13:58,160 --> 00:14:03,460 of rectangles that relates to that idea of a center axis 260 00:14:03,460 --> 00:14:05,540 or something similar to a center axis. 261 00:14:06,780 --> 00:14:13,820 Again, where these spaces on either side are relatively equal. 262 00:14:14,780 --> 00:14:16,260 Space on top is probably the same. 263 00:14:16,940 --> 00:14:19,200 And then the typography is going to exist down below. 264 00:14:21,480 --> 00:14:23,080 And just as one idea, 265 00:14:23,280 --> 00:14:24,520 I could have the typography 266 00:14:24,980 --> 00:14:26,520 do a similar kind of stair step. 267 00:14:27,000 --> 00:14:28,920 That the two images are doing. 268 00:14:30,700 --> 00:14:36,540 I'm going to keep working now just with composition. 269 00:14:37,260 --> 00:14:38,620 We'll come back to color later. 270 00:14:43,360 --> 00:14:53,000 Now think again about a different way of formalizing this idea using x and y-axis. 271 00:14:58,240 --> 00:15:02,920 This time bleeding the rectangles off the edges of the page. 272 00:15:05,540 --> 00:15:10,720 This time also moving some of the typography up to the top. 273 00:15:12,720 --> 00:15:15,080 And having some at the bottom. 274 00:15:18,900 --> 00:15:21,300 Keep going. 275 00:15:26,520 --> 00:15:32,340 Now thinking back to some of the transparency exercises 276 00:15:32,340 --> 00:15:36,900 where we weren't using a perpendicular relationship to the edge. 277 00:15:37,780 --> 00:15:39,580 Where the rectangles are angled. 278 00:15:44,000 --> 00:15:46,700 And thinking more asymmetrically. 279 00:15:52,200 --> 00:15:54,520 And thinking about two parts to the image, 280 00:15:54,520 --> 00:15:55,840 two parts of the typography. 281 00:15:57,480 --> 00:16:01,940 And one more. 282 00:16:02,880 --> 00:16:03,900 And in this last one, 283 00:16:03,960 --> 00:16:05,440 I'll give myself even more permission 284 00:16:05,440 --> 00:16:06,940 to be more abstract. 285 00:16:12,500 --> 00:16:19,180 Maybe in this case, 286 00:16:19,820 --> 00:16:20,860 the typography 287 00:16:21,280 --> 00:16:23,220 is also playing off the angles. 288 00:16:23,480 --> 00:16:29,320 And maybe becoming a part of the color illusion by overlapping the picture planes. 289 00:16:31,040 --> 00:16:38,900 So again, you know, just trying different things out. 290 00:16:39,140 --> 00:16:41,880 The one thing about sketching is that you can try 291 00:16:41,880 --> 00:16:42,780 things out very quickly. 292 00:16:43,080 --> 00:16:45,000 If I did this in the computer, 293 00:16:45,540 --> 00:16:46,400 I'd be lost. 294 00:16:46,960 --> 00:16:50,860 Within 30 seconds, I'd be into something so deep that I couldn't get out. 295 00:16:51,500 --> 00:16:52,660 Whereas if I'm sketching, 296 00:16:52,980 --> 00:16:54,640 I can make decisions very quickly. 297 00:16:54,820 --> 00:16:56,060 Try things out very quickly. 298 00:16:56,260 --> 00:16:57,820 Go on to the next thing very quickly. 299 00:16:58,500 --> 00:17:01,060 Work out a lot of details that would take me 300 00:17:01,180 --> 00:17:03,260 a lot longer on the computer to work out. 301 00:17:03,620 --> 00:17:06,900 And also be a little bit too precise and too locked in. 302 00:17:07,960 --> 00:17:10,260 This allows me to be very fluid, very free. 303 00:17:11,700 --> 00:17:14,400 So now I'm going to apply some very quick color 304 00:17:14,680 --> 00:17:15,580 to these sketches. 305 00:17:15,580 --> 00:17:17,300 And I'm going to use my paint markers. 306 00:17:18,580 --> 00:17:19,620 Start with some greens. 307 00:17:22,500 --> 00:17:27,360 And just start to think about how colors might interact in different ways. 308 00:17:34,300 --> 00:17:35,680 And I have a light green. 309 00:17:39,540 --> 00:17:42,140 Darker green. 310 00:17:45,760 --> 00:17:57,580 And look for a middle green that's in between these two, 311 00:17:58,000 --> 00:17:59,780 which I may or may not have here. 312 00:18:01,060 --> 00:18:02,920 Might have to darken up one of these greens. 313 00:18:03,920 --> 00:18:04,700 See what happens. 314 00:18:15,680 --> 00:18:29,400 Typography. 315 00:18:30,200 --> 00:18:32,300 Might also have that same coloring. 316 00:18:38,500 --> 00:18:43,380 And then just put a neutral gray into the background. 317 00:18:45,740 --> 00:18:50,800 I'm not going to get the same exact color illusion effects. 318 00:18:51,240 --> 00:18:53,860 But I'm going to get a basic idea of what this might look like. 319 00:18:54,800 --> 00:18:56,840 So I'm going to go ahead and color in the rest of these. 320 00:18:56,840 --> 00:18:57,120 There it is.