No Comments Written by Robert on May 21, 2008 – 6:24 am

Contrast Rule

The word “contrast” at first makes you think of light and dark or how light and dark contrast with each other, but it is a very broad term that applies to nearly every type of design and art principle.

For example, there can be a contrast in size big head, little body; color orange against blue; or movement fast versus slow. In fact, contrast motivates every design decision you make as it relates to your 3D models, animations, and composites.

I like to call it the “contrast” rule and I use it as a gauge for whether or not the animation I’m creating is compelling and unique imagery that leaps off the screen with an aesthetic that supports the story. If it leaps off the screen and tells the story that has been intended, then I’ve done my job.

Asking yourself the simple question, “Does this scene have enough contrast?” will allow you to dissect and refine your design intent into something visually astute and appealing. It just takes a few tweaks here and there. “Is the color contrasted enough?” “Are the shadows helping to define my object?” “Is there too much contrast between the fast movement in the beginning and the slow movement near the end?” “Are my designs doing their job to support the character’s environment?”

Remember that your job is to engage the audience through the use of visual imagery, whether it be designed objects or cinematic camera movement. Anything that adds more aesthetic appeal and is in direct support of the characters will help the audience comprehend the story’s intent. Any way you slice it, examining your animation using the contrast rule will give you better, simpler, and more exciting animations.

What Is Composition?

Composition is an extensive subject with about a million different rules, styles, and approaches. It is like a visual puzzle with the subject matter, color, value, perspective, and spatial relationships being the pieces. It’s all of these puzzle pieces combined that make up a composition. A successful composition is a planned piece of work that guides the viewer’s eye as it absorbs and accepts the subject matter it is trying to relate. I’m going to follow this section with some tried-and-true exercises that will give you basic tools for good composition.

After completing this chapter, do your own research on art that you feel embodies good compositional qualities. You’ll know what to look for and in turn will continue to learn more about the foundation of visual storytelling. Some of my favorite artists include Syd Mead, Jack Kirby, Bill Watterson, Alex Toth, Will Eisner, and Degas. Their use of color, value, spatial relationships, and subject matter are second to none and have taught generations of artists sophisticated compositional principles that have stood the test of time.

Get Graphic

An essential part of creating anything visually exciting is the understanding of graphic design. Uuugggghhhh…… I know it conjures thoughts of text-laden layouts full of blurred image s, and a million oversized avant-garde icons somehow crammed onto a 4 x 5 flyer for some local band. Fortunately not in our case.

Bear with me on this one. Graphic design is defined as “the art or profession of using design elements (as typography and image s) to convey information or create an effect.” As it pertains to this book, graphic design is the relationship of shape, value, negative space, and color working together in a two-dimensional medium to produce a visually exciting composition.

“Visually exciting” and “two-dimensional” are the key words, because our final product should be just that. The medium that we are working in is intended to produce image s for television or film, both of which are considered two-dimensional media, and in this case graphic design is used to guide the viewer’s eye into reading a scene or composition in a way that best helps to convey a mood and message.