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Video transcript

- Hey everybody, I'm Bobby Rubio and I'm a story artist here at Pixar. Okay so this is what we're going to do. I'm going to teach you some things about the basic elements of composition. Composition is the organization of visual elements in a scene. We'll focus on how we use these visual elements like line, shape, space, tone, movement, and color to convey meaning and to express emotions in our stories. And today I'm joined by my friends from both the art and story department. - Hi, my name is Scott Morse. I'm a story artist. - I'm Albert Lozano, and I am a character art director. - I'm Michael Yates and I'm a story artist. - My name is Daniella Strijleva and I'm a production designer here at Pixar. - Throughout this lesson we'll look at a few different kinds of images that the art and story department use. Storyboards, beatboards, and concept art. Storyboards are quick drawings representing a frame of the film. We put them together and play them in sequences to visualize the film before we start doing any fancy computer graphics. Beatboards are meant to capture beats, those key moments in your film that we discussed in the last lesson, and convey critical story points. Concept art also captures key moments from your film, but this art is usually more polished, done in full color, and meant to express how light and color will be used in each sequence in a film. To get started, let's look at a final frame from the movie Up, and think about how the composition is used to convey meaning and emotion. - So this image in Up by this time we've already seen a beautiful montage that kind of shows us the life that Carl and Ellie have had together. They had a beautiful marriage and this composition shows that in a way. - It really pushes you close enough to be intimate with the characters. You have white windows, which kind of pushes you in and moves your eye towards where he's looking, which is Ellie and then if you look at her head and where it's pointing, it's going right back to him and it keeps you really close in this center spot here. - The minute you get two characters' eyes looking at each other and this creates this sort of energy that runs back and forth between the two of them, and so your eye is naturally just going to be drawn to the two of them staring at each other. All the other information sort of becomes secondary. You're really going to stare at their gaze. - We're a little bit more focused on Carl, and wondering how he feels about what Ellie's going through and probably curious as to why Ellie's so optimistic here. - So you can see there's a lot going on when we talk about composition, but it all begins with a line. Lines can do more than you might think, because a line can have many different qualities. For instance, you can change the direction of a line. Which way does it point? You can also change the weight of a line. Is it thick or thin? You can vary the shape, and you can adjust the pressure you use when drawing it. And you can use these different qualities to express meaning. If I wanted to draw a nervous line, I might do this. An angry line might look like this, and if I wanted to create a sense of calm, I would do this. We use these same principles when drawing characters or environments in our films. - [Man] The line that's chosen here by this artist with these boards really helps denote an organic sense of playfulness with these characters. We can see that they're still young at heart, we can see that they're still, they still have some energy to them. - [Man] Danny Lopez who painted this image really used, he used a brush and he used these sort of vibrating tones for the lines that are running up and down against the window, you can see the vibrating lines right here on the windowsill and that sort of vibration was meant to just symbolize energy outside sort of like Carl is focusing on Ellie but she's looking out the window still. She's almost telling Carl there's still a lot of life out there. There's adventure to be had, no matter what. Even though I'm sick here in bed. - Now in this drawing from Cars 3, line is used in a slightly different way, but when you look at the character, when you look at Lightning in this drawing, his line even though it's rough really conveys a sense of motion and a sense of emotion in that he's scrambling. He's really feeling uncertain and he's digging harder and probably making mistakes in his own mind. We wanted him to more than likely feel off balance and feel a little bit scattered. You'll see double up lines, tripled up lines. You look to Lightning first because of this. You look at how much energy is happening around him and it gives a sense of vibration and a sense of movement. - I really like this picture of Merida because if you think about her character, when you look at this drawing you know that right away, just from the way that her hair is drawn that she's a character that can't be contained, she's kind of seeking freedom and even if you don't know the story, you might figure out that she's someone who is a little wild, a little hard to tame, and someone who's looking for her own way in the world. So to me all of these you know even just the way that her hair was drawn really represents that. - Yeah so one of the interesting things that I got to work on was the abstract thought sequence on Inside Out, where we turn the characters basically just into line and so what would be the cues then if you were three characters and you were all turned into line, what would be the cues that were left to tell you what each character was? So we decided to rely on color with line. Line could have color, but line we thought well wouldn't it be interesting if line had movement, and so we did a fun assignment where we decided let's just move these lines around and each one could maybe move a certain way and pertain to each character's trait so how would a sad line move? How would a sad line be colored? We also thought well, how would a happy line move if it was a joyful line, how would that move around? You don't really notice it in the film, but it was fun to sort of do this assignment. You notice it maybe for a split second, but each line does have its own personality. - So you can see with only a few strokes of a pen we can build a world within a frame, bring it to life, and even portray the emotions of that world. In the next exercise, you will have a chance to think more about the direction, weight, shape, and pressure of the lines. And don't worry whether you think you can draw realistically or not, because this lesson isn't about detailed drawings, or even really good ones. Sketching is making quick and expressive drawings that capture the essence of character or scene. So loosen up and have fun.