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In the last lesson,

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we did some sketching for the poster.

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In this lesson,

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we'll develop an image that demonstrates simultaneous contrast for the

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exhibition poster.

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Our goal in this lesson is to create an image for the first of our two exhibition posters.

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And this one is going to be using an image from the Albers experiments,

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where we try to make three colors look like two using complementary colors.

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And this is one of the images I made earlier.

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Here's another one.

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These are both examples of making three colors look like two using

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complementary colors, red and green in this case,

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orange and blue here.

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Now, I'm also going to take

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a look at these sketches that I made earlier and see how these images might be used in the actual

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design of the poster.

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So, here's the first page of sketches.

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And remember,

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there's no limit to how many sketches you can make and how many sketches you can look at in order to get

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ideas for your final poster design.

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And initially, I really liked this poster in the upper right and

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the poster down here that's angled in the lower left.

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And I still really like those ideas.

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And I might try to at least use those as a basis for one of my designs.

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I also have pictures of the other sketches that are based on the other color theory experiment,

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the illusion of transparency.

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But right now, we're focusing on this one idea.

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Eventually, we're going to be using both of the ideas,

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making three colors look like two and illusion of transparency and space illusion in the poster animation.

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And these images will be part of the animation.

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They'll cycle through, they'll loop in a certain way.

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And that actual poster, that animated poster,

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will basically be a combination of the two versions of the poster we make for print.

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Hopefully, that makes sense at this point,

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but it's also jumping ahead a little bit too much.

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But that one thing we want to make sure is that when we get to that final digital version of the poster,

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the animated version,

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that the background color is the same and the typography is more or less the same.

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But in these posters that we designed for print,

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that can change a little bit as long as the same image can be used in the digital animation version.

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The images can be different colors as long as they both work on the same colored background and can be used with the same basic typographic treatment.

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So I still like these two ideas,

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the upper right and the lower left.

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Both of them have good possibilities.

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And just in terms of colors,

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right now, they probably relate best to the red and the green,

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which is kind of interesting.

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The orange and blue is nice too,

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but I'm really kind of interested in the idea of the red and

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green and exploiting that as a possibility.

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So I think I'm going to end up using this one.

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And in terms of the sketches,

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it's hard to tell.

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I think I kind of like the angle sketch just because it's very dramatic.

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Yeah I think we're going to go with this sketch down here.

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This one over here is really interesting,

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but I think it's going to be very limiting

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in terms of how I end up using a distorted image in the final digital animation poster.

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So I think that this simple angled poster is very Bauhaus-inspired,

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constructivist-inspired

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poster here in the lower left is probably the one I'm going to use.

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Has a gray background already and I think that's a good idea just to unify both posters

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to have a gray background.

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So I'll start with that.

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And the typography is existing in the lower part of the poster.

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Again, that's something that can be a little bit fluid at this point.

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I'm mostly concerned with the image.

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So let's go back to this red and green image.

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And so now I've really chosen that and I want to think about how this is going to be used in the poster itself.

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And by the way,

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you might remember that I created this image in Illustrator initially.

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Here I've opened it up in Photoshop and I've done that specifically so that whatever imagery

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I make here, I can put on layers and I can then use those layers to create my final digital animation.

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I could do that in Illustrator too.

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It's possible, but I'd eventually have to import everything into Photoshop.

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So better just to rebuild this image.

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However, I'm going to size it.

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However, I'm going to position it,

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rebuild it in that way specifically for the poster.

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So the first thing I'm going to do is create just basically the document for the poster itself.

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So I'm going to open up a new Photoshop file and the size of the poster is going to be A1.

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So if we quickly look up an A1 size paper dimensions,

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that's 594 by 841 millimeters or

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23.4 by 33.1 inches.

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We can work either way.

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Whatever measurement you are most accustomed to,

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we can work in that.

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I'm going to work in millimeters.

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So 594 by 841.

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And I'm going to set the resolution to 300,

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which is kind of the industry standard.

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And I'm going to initially work in CMYK colors

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with a white background.

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This is going to be best simply because these posters are meant for printing

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and will later be used in a digital way.

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But I think right now we'll work in CMYK and then we'll switch to RGB later

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and we'll see what happens to the colors.

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We might have to make some adjustments,

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but I don't think so. OK,

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so there's the poster dimensions,

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the proportions,

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A1 proportions, that very beautiful A1 rectangle.

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Of course, the A1 size is something that's an international size.

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It can be printed universally.

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It'll fit on a variety of different kinds of papers,

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including papers that are available in most digital printing services around the world.

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And with all of the A series sizes,

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it can be sized down incrementally to different sizes,

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smaller sizes and bigger sizes,

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depending on how you want to end up printing this.

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So A1.

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Now I'm going to give this a name,

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just make sure that that's done as quickly as possible.

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I'll simply put this into this folder at this moment, the downloads folder. So I'm going to call this Albers exhibition poster.

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And I'm going to say V1 just in case I end up doing another version of this.

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There it is.

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OK,

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so that's my background and I'm just going to leave this white for the moment.

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And I'm going to go back to my red and green position and import the image.

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And I'm going to import the image. And I'm going to import the image. And I'm going to go back to my red and green position and import that in.

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And copy,

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duplicate this layer into the Albers exhibition poster file.

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I'm going to close down some of these others as well,

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because I don't need to see them anymore.

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Five looks like six.

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Oh, that is pretty amazing to look at this now on screen again.

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Pretty incredible.

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I'm always just totally blown away by these color illusions.

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This is making three colors look like four.

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So it's basically just this that I need.

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And I'm just going to bring it into the frame.

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And look back at my sketch.

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I'm going to import that sketch right into this.

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So I have it here.

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So I'm going to come over here and make a selection.

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Just this one.

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And I'm going to copy this.

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And when I paste this into Photoshop.

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There it is as a sketch.

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It's on its own layer.

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Very cool.

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And I can enlarge that.

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Very rough at this moment,

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but that's not bad.

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So now I know basically how big I'm going to need my image.

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So I can drag this image into place.

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And this is just basically going to be used as a template, as a placeholder.

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I'll rotate that over.

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And place it here and scale it up.

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My scale tool.

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And now I'm just pressing my arrow key to enlarge it.

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I like using the arrow keys.

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Move it into place.

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Again, I'm just approximating right now.

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I do notice how this tip up here on

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the sketch bleeds right off the top of the poster,

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which is kind of nice.

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So let me just do that.

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Continue moving this up.

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It's 191% right now.

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Percentage doesn't really matter.

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I'm going to rebuild it.

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One of the things I often look for in my poster designs are these tensions.

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These visual tensions that develop along the edges.

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So this idea of having a point that intersects an edge.

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It's a really interesting concept to work with.

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And what it does is

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that it closes off whatever negative space is to the,

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well, to adjacent to that edge, that point,

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that tension.

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So now this triangle up here is one of the main negative shapes in the poster.

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No matter what I do to the poster,

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that's going to be there.

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Same thing with this negative shape.

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It's off to the right corner.

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And even the big negative shape at the bottom.

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So we have three large triangular shapes.

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If you think about that.

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So we could say that the negative shapes are all now unified.

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Now the other thing I'm going to do on this is just take off this gradient because I no longer need that.

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I'm just going to select this and delete it.

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The typography is going to sit somewhere down here.

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And we're going to come back to the typography later.

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So I'm just thinking about the image right now.

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So that's good.

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So now I want to recreate this image and I'm going to do it in a way where each

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of the elements in this image is basically it's four rectangles that are all angled.

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Each of these are on its own layer.

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And that's important to do that so that when we come to our animation later

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on at final product,

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the final stage of this design,

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that each of the elements will be on

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its own layer so that I can make frames from these various layers and use them to populate

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the animation as basically frames for the animation.

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So think about that.

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Each one of these shapes, the red shape,

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the green shape, and then the two inside shapes,

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which are actually the same color,

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they just look so different here.

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Those basically will all be

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on their own, their separate layer.

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The other thing I'm going to do right now is just put

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in a background color,

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a gray color.

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See what happens and how that affects the color of the piece.

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It's a little bit strong.

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A little bit too dark.

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I go a little bit lighter with this.

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That's better.

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More contrast.

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Okay.

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Let's go with that for now.

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They're looking nice.

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I might actually want to increase the contrast of this image too,

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but let's worry about that later.

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So the first thing I want to do now is recreate this image and it's a nice angle.

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I have the angle, but in order to create this image,

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I want to go back to horizontal and vertical.

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It's going to be the easiest way to do this.

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So I'm going to recreate this,

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duplicate this layer,

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turn off the bottom layer and take this now and rotate this back to be perfectly horizontal.

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And I can bring a die down to make sure that it's as horizontal as possible.

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You may have noticed that I'm not very good with this particular mouse I'm using here.

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I'm used to such an

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old school single click mouse and this one has multiple functions on it.

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So I'm tending to get a lot of menus that are not really very useful.

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Okay.

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So here we have it.

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It's now squared up nicely and it doesn't really matter that it's centered,

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but I'm going to center it anyway.

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Optically center it.

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Move it up a little bit.

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That's always right on that line.

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And I'm going to bring more guys in just to lock it in place.

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Again, I want to have the same exact image.

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So when I rotated back into the placement that I already created,

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I think it'll be great.

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So great that Photoshop has these guides that seem to lock in place sometimes.

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I think that center guide locked in place because it's right in the middle,

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which pure luck on my part.

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Let's zoom up on this.

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This is something that I can get more involved with the details of this later.

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Since I spent a lot of time in Illustrator making sure that these things were in the right places,

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I want them to be that way now too.

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So I have my guides and I can now proceed to create these

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images using more than one frame.

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So the first thing I'll do is sample the color on the top layer, the red,

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and I'll make that rectangle.

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So that's now my foreground color.

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00:16:09,680 --> 00:16:11,000
Go up here,

252
00:16:11,360 --> 00:16:12,320
make my image selection,

253
00:16:12,460 --> 00:16:14,260
make sure the feather is set to zero.

254
00:16:16,100 --> 00:16:17,520
Zoom up on this,

255
00:16:17,920 --> 00:16:19,300
square it up in the page.

256
00:16:22,980 --> 00:16:29,460
I'm going to fill that with the red color.

257
00:16:31,000 --> 00:16:32,740
So if I turn off my background,

258
00:16:32,940 --> 00:16:34,940
you'll see that basically all I have now is that.

259
00:16:35,780 --> 00:16:39,740
Now I'm going to take this same image and just duplicate it to the other side.

260
00:16:41,420 --> 00:16:44,720
So I have the same size on each side.

261
00:16:46,340 --> 00:16:48,200
I can move this straight across.

262
00:16:48,720 --> 00:16:50,540
Like that.

263
00:16:51,640 --> 00:16:54,900
And let's turn these off for a minute.

264
00:16:55,720 --> 00:17:02,000
Go down here and make the background color the green.

265
00:17:03,960 --> 00:17:08,640
Go back up to this layer and now fill that with green.

266
00:17:09,280 --> 00:17:10,280
So there's that.

267
00:17:11,680 --> 00:17:13,460
And just take a look without my guides.

268
00:17:14,180 --> 00:17:14,760
There we go.

269
00:17:15,140 --> 00:17:17,000
So now I have,

270
00:17:17,280 --> 00:17:19,560
as you can see in the layer palette,

271
00:17:20,000 --> 00:17:22,020
I have layers, individual layers,

272
00:17:22,360 --> 00:17:24,260
for each one of these backgrounds.

273
00:17:25,080 --> 00:17:26,140
Very simple.

274
00:17:26,260 --> 00:17:31,240
Now I'm going to add the inside colors here and here.

275
00:17:32,900 --> 00:17:34,160
Again, on their own layers.

276
00:17:35,540 --> 00:17:37,340
So I'll make another layer on top of this.

277
00:17:39,860 --> 00:17:40,920
I'm going to move,

278
00:17:41,060 --> 00:17:42,260
yeah, I'll leave it there for now.

279
00:17:45,740 --> 00:17:46,540
Make a selection,

280
00:17:47,580 --> 00:17:48,540
this inside.

281
00:17:50,220 --> 00:17:55,220
Now if I go back down here,

282
00:17:55,520 --> 00:17:57,740
I can actually sample this color.

283
00:18:02,440 --> 00:18:07,320
And fill that rectangle with that color there.

284
00:18:09,360 --> 00:18:11,920
And do the same thing where I duplicate the layer.

285
00:18:15,060 --> 00:18:18,160
And move it to the other side.

286
00:18:19,860 --> 00:18:24,740
All right, turn that off, turn off my guides.

287
00:18:25,280 --> 00:18:29,820
So now I have each of these elements on its own layer.

288
00:18:31,540 --> 00:18:32,240
Turn that off.

289
00:18:32,660 --> 00:18:33,400
Let's do this again.

290
00:18:33,580 --> 00:18:34,700
So we have the red background,

291
00:18:35,420 --> 00:18:36,480
we have the green background,

292
00:18:37,320 --> 00:18:39,940
we have the inset on the red side,

293
00:18:40,140 --> 00:18:42,680
we have the inset on the green side.

294
00:18:43,220 --> 00:18:44,540
All on their own layers.

295
00:18:45,120 --> 00:18:47,700
And notice that those colors are still holding.

296
00:18:48,080 --> 00:18:48,980
This color over here,

297
00:18:49,100 --> 00:18:51,620
again, if you stare at the center of this composition,

298
00:18:51,880 --> 00:18:52,840
it starts to look green.

299
00:18:53,600 --> 00:18:54,840
This color starts to look red.

300
00:18:55,540 --> 00:18:57,200
The color illusion is still pretty effective.

301
00:18:57,720 --> 00:19:01,080
♪♪