So some beautiful frames to discuss about.
We have our first one, so we see here that everything regarding our
object is being placed almost at the center.
Okay.
We have the scars that placing your objects or your main action
descender it's not always very interesting and exciting.
But here it works.
It works because we have also really nice black area.
Okay.
I can negative space here that works as a base in order to support our
action with guys, the cows.
And they old, I don't know.
Cartwheels, I don't know how was the word?
Um, ne how they named these, uh, back pocket at the time.
Okay.
So.
That negative space.
Really nice.
It creates also very great SAPE here.
And then we have some other things happening.
The good offs.
So first we have that smoke that comes in, that diagonal movement from
the right corner, and it points out our first objects.
Where do we meet our heroes?
And then we have, of course, our heroes here, which they have a great
contrast.
They are, you know, more black down the first stages of our
composition or the first layers.
Okay, there are black and dumped these and that area here.
So the creator, really nice contrast pen.
Did you miss my beautiful writers popping out?
So first really nice contrast, but beyond the third line here, we have
some other lines that they help us should go and look at of what is
being called.
As you remember.
I really nice regular rhythm.
What's happening by repetition of same elements, you know the cow and
the old carb.
Okay.
So also they lead us into.
The left, uh, part of the composition, the left middle case, like
theses are valleys are wising point or arrives on where the cows are
going.
So the mountains and that, you know, fog or cloud.
Here, it helped us first focus on our main heroes and then we follow
the regular rhythm that is being created.
Or that repetition can be most like a pattern from college and old
cars.
And then we have something else about the clouds.
Sometime clouds are also helping to direct their eye.
You see, where do they go here.
Okay.
And they help us more in order to focus odd our pattern here.
Okay.
Really nice.
I love these frames.
Let's move on to the next one.
That two are.
Okay.
So the horizon here.
It's not in the middle right now.
It's more interesting.
And we have something else of hopping a lot of all rezoned out lies.
Okay.
One here from a grass grass.
Again, car cross dog, big trees.
And then we have some other from the clouds.
Good, sweet.
Have said before.
It's really nice.
These lines, they are movement, but we need some verticals.
Okay.
So we'll have some of the small verticals here, but in order to
balance a great amount of horizontals, we need some beat your animals,
dominant verticals in the scene low to make it look cool.
So.
Let's say that we are here, excuse me, almost in the center, and you
have that small car near to the center.
So you're telling me why that tree is not being placed here about
still balance the children and instead then we have a small object
element here.
Okay?
So you have to.
No, that when our design principles will then composition for D'Amato
sent everything, but that doesn't mean that we should always apply
them one by one or with a mathematic equation.
Okay.
It always, we always need to understand that it's like, I don't know,
bicycle or playing a music college domain.
You know, you have to learn them and then some constantly you will
follow them.
Okay.
It's not like a placing it out here and then mathematically, or going
to play something else there.
Okay.
You have to understand them, you know, take a deep knowledge of them
or at least great or a strong knowledge of them.
And then, you know, just improvise.
It doesn't mean that you always apply them one by one.
Okay?
So here, of course, photography is not a threeD or a painting or
drawing, but it still works.
Doesn't matter if it doesn't have the steel.
Your ballers.
No theory apply there.
It works.
A really nice, beautiful frame.
It's based most on or verticals as we discussed.
Let's move on to the next frame.
I really like that.
Okay, so yeah, we see symmetry really nice.
But again, it's not that everything is similar.
Okay.
We have our guy here.
And our girl or lady, sorry, so he wears darker clothes.
She wears brighter clothes, but they both have a really nice contrast.
You are to the wide world.
Maybe he has a bigger contrast, I don't know, like 30% bold contrast.
Not here, but you see also the and the verticals here again, how
they're really add rhythm.
The chair.
Again, it's SSRIs.
Okay.
Really nice.
And something goes about that.
I love that it's a very, design-wise a frame.
Have all these little bits tick the line of all of these great no
rectangles and safes happening.
Oh, sorry.
Took again the red one.
Excuse me about that.
Uh, what happens?
I dunno, let's move like that.
Well this word, nice rectangles happening in the ground.
Very designed wise.
Okay.
More nice.
So the create a really nice pattern into the ground.
And they also help to give some direction.
Yeah.
It's the direction is almost to go here.
It's almost like on cue up, up.
So you should see up.
So something else that works really nicely are these great diagonals
happening from that object pointing here.
And then from the opposite side, from the chair pointing here.
And, uh, what else is being created very nicely?
How he has been placed into the left side and see the right side.
Does it create a really nice triangle here?
Hello?
So they are inside the triangle.
Okay.
They do have the sub containers, these two characters.
Okay.
So they help a lot.
And.
More safes.
Sorry, I have to throw out all of them, but most of them, because I
really liked that pattern and beside the saves from the elements in
the floor, we also have more small rectangles in the world, so they
give her a really nice rhythm, can really nice rhythm and hope.
I didn't forget anything, anything on that one, and we're good to go.
因此，一些美丽的框架来讨论。
我们有我们的第一个，所以我们在这里看到，所有关于我们的
物体几乎被放置在中心。
好吧。
我们有伤疤，放置你的对象或你的主要行动
下降，它并不总是非常有趣和令人兴奋。
但是在这里，它起作用了。
因为我们也有非常漂亮的黑色区域。
好吧。
我可以在这里负空间，作为一个基地，以支持我们的
和男人们一起，和奶牛一起。
我不知道他们是否老了。
侧手翻，我不知道这个词怎么说？
呃，他们当时是怎么给这些后袋起名字的。
好吧。
所以。
那个负空间。
真的很好。
它也创造了非常伟大的 SAPE 在这里。
然后我们还有一些其他的事情发生。
美好的结局。
首先，我们看到烟雾从
右边的角落，它指出了我们的第一个对象。
我们在哪里遇见我们的英雄？
当然，这里还有我们的英雄，他们有一个伟大的
对比。
他们是，你知道，更黑下来的第一阶段的我们
组成或第一层。
好的，这里有黑色的，还有这里的这些和那个区域。
所以这个创作者，非常漂亮的对比笔。
你想念我那些美丽的作家们吗？
所以第一个非常好的对比，但是在第三条线之外，我们有
其他一些线，他们帮助我们应该去看看什么是
被召唤。
你还记得吧。
我真的很好有规律的节奏。
通过重复相同的元素会发生什么，你知道奶牛和
古老的碳水化合物。
好吧。
所以他们也引导我们进入。
左边，呃，构图的一部分，左边中间的盒子，像是
这些山谷就是牛群所在的地方
去。
所以那些山和那些，你知道，雾或者云。
在这里，它帮助我们首先关注我们的主要英雄，然后我们跟随
正在形成的有规律的节奏。
或者说，重复最像是大学和老年时期的模式
汽车。
然后我们还有一些关于云的其他东西。
有时，云彩也有助于引导它们的视线。
你看，它们通向哪里。
好吧。
他们帮助我们更多地关注我们的模式。
好吧。
真的很好。
我喜欢这些镜框。
让我们继续下一个问题。
那两个是。
好吧。
这里的地平线。
它现在不在中间。
这更有趣。
我们还有一些其他的东西，包括许多重新划分的谎言。
好吧。
这里有一片草地。
再说一次，汽车横穿狗，大树。
然后我们还有一些来自云层的其他东西。
很好，甜心。
我以前说过。
真的很不错。
这些线条，它们是运动的，但我们需要一些垂直线。
好吧。
这里有一些小的垂直线，但是为了
平衡大量的水平线，我们需要一些打你的动物,
在场景中低垂的垂直线条，让它看起来很酷。
所以。
让我们说我们在这里，对不起，几乎在中心，和你
把那辆小车开到中心附近。
所以你是在告诉我为什么那棵树没有被放在这里
仍然平衡的孩子，取而代之，我们有一个小对象
元素在这里。
好吗？
所以你必须这么做。
不，当我们的设计原则将然后为 d’ amato 组成
发送了所有的东西，但这并不意味着我们应该一直
一个接一个，或者用数学方程式。
好吧。
我们总是需要明白这就像我不知道,
或者在音乐学院演奏。
你知道，你必须学习它们，然后不断地学习它们
跟着他们。
好吧。
这不像把它放在这里，然后在数学上，或者去
在那里放点别的东西。
好吧。
你必须了解他们，你知道，深入了解他们
或者至少对他们有很深的了解。
然后，你知道，即兴发挥。
这并不意味着你总是一个接一个地应用它们。
好吗？
所以在这里，当然，摄影不是三人行，也不是绘画
画画，但还能用。
如果没有钢材也没关系。
你的球员。
没有理论适用于那里。
这是有效的。
一个非常漂亮的框架。
它基于我们讨论过的大部分或垂直领域。
让我们进入下一个画面。
我真的很喜欢。
好吧，我们觉得对称很好。
但是，并不是所有的事情都是相似的。
好吧。
我们要找的人来了。
我们的女孩或女士，对不起，所以他穿着深色的衣服。
她穿着鲜艳的衣服，但是这两件衣服的对比非常好。
你来到了广阔的世界。
也许他有一个更大的对比，我不知道，比如30% 的大胆对比。
不在这里，但是你也看到这里的垂直线，怎么样
它们确实增加了节奏感。
椅子。
再说一次，这是 SSRIs。
好吧。
真的很好。
有些事情就是这样的。
我喜欢这是一个非常，设计明智的框架。
让所有这些小片段勾出所有这些伟大的不
矩形和保险箱发生。
抱歉。
又拿走了那个红色的。
不好意思。
发生了什么？
我不知道，我们就这样走吧。
这个词，很好的矩形发生在地面上。
精心设计的智慧。
好吧。
更好。
因此，创建一个非常好的模式进入地面。
它们也有助于指明方向。
是的。
它的方向几乎是去这里。
这几乎就像是提示，提示，提示。
所以你应该向上看。
还有一个很好的例子就是这些很棒的对角线
发生了什么变化。
然后从另一边，从椅子指向这里。
那么，呃，还有什么东西被创造得很好呢？
他是如何被安置到左边，看到右边的。
它在这里形成了一个很好的三角形吗？
喂？
所以他们在三角形里面。
好吧。
他们确实有子容器，这两个字符。
好吧。
所以他们帮了很大的忙。
还有。
更多的保险箱。
对不起，我不得不把它们全部扔掉，但是大部分都扔掉了，因为我
真的很喜欢这个图案，旁边的保存从元素在
地板，我们也有更多的小矩形在世界上，所以他们
给她一个很好的节奏，可以真的很好的节奏和希望。
我没有忘记任何东西，任何关于那个的东西，然后我们就可以出发了。