October 15, 2012 at 18:25Video Design Illustrations
This time I will not keep the word on approaches in work, but the art director of Trailer Studio. But, in the beginning, according to tradition, our video:
Today I’ll tell you how to find the answer to the question that has long tormented me about the banality of the image and what you need to know for an illustrator working with video designers.
About the essence of the problem: as an illustrator, most of the time dealing with static single pictures, it was not easy for me — when I started working with graphics for motion and animation — to switch to a mode in which some pictures themselves mean nothing or just repeat text. In a static solitary illustration, this is completely unacceptable (well, there are a number of reservations, but they are not important in this conversation), and it causes me so much rejection right now because I once painted exactly such pictures (what a blessing that it passed) . The idea that illustration is always a kind of “narrative”, something meaningfully self-sufficient, did not allow me to calmly draw “just a globe and little men”, “just a handshake”, “just a typewriter”, etc.
In this sense, the situation with edits in the yutrader was quite indicative.
There was such a text: “Binary options - an effective and profitable instrument of American exchanges - now becomes available to any investor.”
As an illustrator, I had this approach: for a cool illustration, we need a cool metaphor. We will depict such an illustration, and then simply add movement to it.
The following story happened: on horseback riders on horseback, one of which is a cowboy on a horse with a typically hot rod pattern on its side - a burning flame. The cowboy is ahead of everyone, leaving the others behind the scenes, but then they catch up with him and we see that other riders also had an upgrade: all of their horses are now tuned, riders are dressed in racing suits.
That is, we have a sequence of three pictures:
Everything would be fine, but the client says, they say, "everything is cool with your explanation, but without it no one understood anything."
Of course, it was a pity to refuse such a shot, but in fact it turned out that by the time required to perceive the picture, it was more like a magazine illustration (only in motion). The complexity of perception increases, because the viewer cannot freely switch attention between the text and the image, as is the case with the magazine (none of the real users of the service will begin to review the video due to the fact that some picture was incomprehensible). In the case of the magazine, there is a separate time for reading the text, and a separate time for reading the picture. Those. an illustration can be an independent text (and in a magazine, in a good way, it should be), in the case of a video - if the text and the picture are equally weighty, they begin to argue for the viewer's attention, and as a result, he does not really understand either the text or images. Then I had a question: so, it turns out that in a video of such a plan a picture can only repeat the text? This is terrible gloom, it’s the dominance of a clip art, how can this be, and generally I don’t play like that.
And here I was just reading Scott McCloud’s comics about the comics. And in it, just at this moment of the search for meaning, one very important point was found for us - how the text and the image work together (see pages 153-160). Unfortunately, there is no translation of this chapter into Russian, therefore it is briefly about the essence: Despite the fact that there can be many options for the joint work of text and pictures, 7 main types are highlighted in the book: 1. The main thing is words (pictures explain, “ portray, "but they don’t really add anything new):" Judy gave the keys and smiled "- painted smiling Judy. 2. The main thing is the picture (the words play the role of a “soundtrack”, everything is clear from the picture and without them)
3. Repetition (the picture repeats the text and vice versa): “George raised his lollipop frowning” - painted a gloomy George with a lollipop in his raised hand.
4. Amplification, addition (words strengthen or develop a picture, or a picture - words): “Is this Jupiter of my youth?” - just a planet is drawn and just a ship; "My head will burst right now, like a pumpkin!" - painted a man holding his head.
5. Parallel combinations (text and picture do not intersect): “Milk. Butter. Light bulbs ”- painted a man kneeling on the lawn.
6. Installation (text - part of the picture)
7. Interdependence is the most common and interesting type of interaction, in which the text and picture convey the necessary meaning only together: “This is all I need to stop it!” - painted by a superhero looking at his huge hand.
Interdependent combinations do not always represent an equivalent union: sometimes the text is meaningfully more loaded than the picture, or vice versa. Moreover, the more specific the words, the more freely the picture can vary, and vice versa. There should not be a situation where both are trying to lead - and this is exactly what happened in the case of the yutrader.
Art Director of Trailer Studio
Ksenia Kopalova
Trailer Studio Website | Project Dawn
Today I’ll tell you how to find the answer to the question that has long tormented me about the banality of the image and what you need to know for an illustrator working with video designers.
About the essence of the problem: as an illustrator, most of the time dealing with static single pictures, it was not easy for me — when I started working with graphics for motion and animation — to switch to a mode in which some pictures themselves mean nothing or just repeat text. In a static solitary illustration, this is completely unacceptable (well, there are a number of reservations, but they are not important in this conversation), and it causes me so much rejection right now because I once painted exactly such pictures (what a blessing that it passed) . The idea that illustration is always a kind of “narrative”, something meaningfully self-sufficient, did not allow me to calmly draw “just a globe and little men”, “just a handshake”, “just a typewriter”, etc.
In this sense, the situation with edits in the yutrader was quite indicative.
There was such a text: “Binary options - an effective and profitable instrument of American exchanges - now becomes available to any investor.”
As an illustrator, I had this approach: for a cool illustration, we need a cool metaphor. We will depict such an illustration, and then simply add movement to it.
The following story happened: on horseback riders on horseback, one of which is a cowboy on a horse with a typically hot rod pattern on its side - a burning flame. The cowboy is ahead of everyone, leaving the others behind the scenes, but then they catch up with him and we see that other riders also had an upgrade: all of their horses are now tuned, riders are dressed in racing suits.
That is, we have a sequence of three pictures:
Everything would be fine, but the client says, they say, "everything is cool with your explanation, but without it no one understood anything."
Of course, it was a pity to refuse such a shot, but in fact it turned out that by the time required to perceive the picture, it was more like a magazine illustration (only in motion). The complexity of perception increases, because the viewer cannot freely switch attention between the text and the image, as is the case with the magazine (none of the real users of the service will begin to review the video due to the fact that some picture was incomprehensible). In the case of the magazine, there is a separate time for reading the text, and a separate time for reading the picture. Those. an illustration can be an independent text (and in a magazine, in a good way, it should be), in the case of a video - if the text and the picture are equally weighty, they begin to argue for the viewer's attention, and as a result, he does not really understand either the text or images. Then I had a question: so, it turns out that in a video of such a plan a picture can only repeat the text? This is terrible gloom, it’s the dominance of a clip art, how can this be, and generally I don’t play like that.
And here I was just reading Scott McCloud’s comics about the comics. And in it, just at this moment of the search for meaning, one very important point was found for us - how the text and the image work together (see pages 153-160). Unfortunately, there is no translation of this chapter into Russian, therefore it is briefly about the essence: Despite the fact that there can be many options for the joint work of text and pictures, 7 main types are highlighted in the book: 1. The main thing is words (pictures explain, “ portray, "but they don’t really add anything new):" Judy gave the keys and smiled "- painted smiling Judy. 2. The main thing is the picture (the words play the role of a “soundtrack”, everything is clear from the picture and without them)
3. Repetition (the picture repeats the text and vice versa): “George raised his lollipop frowning” - painted a gloomy George with a lollipop in his raised hand.
4. Amplification, addition (words strengthen or develop a picture, or a picture - words): “Is this Jupiter of my youth?” - just a planet is drawn and just a ship; "My head will burst right now, like a pumpkin!" - painted a man holding his head.
5. Parallel combinations (text and picture do not intersect): “Milk. Butter. Light bulbs ”- painted a man kneeling on the lawn.
6. Installation (text - part of the picture)
7. Interdependence is the most common and interesting type of interaction, in which the text and picture convey the necessary meaning only together: “This is all I need to stop it!” - painted by a superhero looking at his huge hand.
Interdependent combinations do not always represent an equivalent union: sometimes the text is meaningfully more loaded than the picture, or vice versa. Moreover, the more specific the words, the more freely the picture can vary, and vice versa. There should not be a situation where both are trying to lead - and this is exactly what happened in the case of the yutrader.
Art Director of Trailer Studio
Ksenia Kopalova
Trailer Studio Website | Project Dawn