Hi everyone. This is Ricardo, and this is the video about how to create a concept of a treasure chest. We're also going to talk about color schemes, how to create color schemes. We are going to discuss a little bit about materials for the chest and how to make it readable. So let's get started. What I'm doing here is I am laying the basic proportions of the chest, a front view and a side view. So from the side, I think it should be better to have this pretty much as a square but actually the top of it will be rounded. So let's use the square as the base, and let's draw two diagonal lines. They are very faint but I guess you can see. This gives me the center so I can see the apex of by an arc. So let's try to draw this arc here to have the profile of our treasure chest. Let's erase what we don't need. Now I have the basic proportions of my chest. Now I have a good understanding of the volumes of my chest, front and side view. But it's time to tackle a little bit of perspective. So let's draw the chest in perspective. Let's try to give like a three-dimensional look to this chest. So I'm choosing a diagonal point of view with a two point perspective setup. I'm not laying in horizon lines and vanishing points. I'm just thinking about like an intuitive perspective. The lines seem to be converging to a certain point. But what I want here is to have the volume. I don't want to get obsessed with technicalities. So I just need a good base for start my understanding of the proportions of the chest in a three-dimensional field. So I'm trying to correct here a little bit more of the proportions who was a little bit to rectangular. I needed it to be like a square from this side field so I can create the same profile and then project this profile to the left of the treasure chest. So here's the top line, and I should have the same angle of curvature on the other side. So pretty much, this would be my treasure chests. I think I can make it a little bit taller. So I'm adding a little section under what it was drawing, and it doesn't affect anything, it's just a correction in terms of proportion. So I can have my treasure chest seen in perspective as a three-dimensional volume matrix form. All right. So let's erase some of this sketch lines. Let's leave just the essential, but also let's keep some of the sketch lines, should leave it an artistic field to our concepts. Remember, this is not a technical drawing, this is a sketch. This is just a concept sketch, so make it lose, don't get too precise with like brushes and measurements, it's just like the loose sketch. Important thing here is to keep a good sense of proportion. Now that we have a good proportion to our chests, let's create the top and the bottom sections of the chest. I think it's a good time to think about some of the variations we can have for the design of the chest. So once we establish a front view or the side view and the perspective view to have a good sense of volume, it's a good time to start thinking about the main design, for example, of the front of the chest. So let's create some of the elements here. The lead and some of like metal portions. So we can have a little bit of variation in the materials. This is good design thinking, it's very important that you plan, what materials are you going to use on each section? It's very important to be aware of this to have something interesting to show. One of the biggest mistakes beginners do is they are more concerned about for example, "It's all made of wood." For the keyhole, it's just an opening but if you think about, you can have some metal rims around the chest and the keyhole can be also made of the same metal portion. This creates variety, variety in the materials, variety in the way light is reflected from your chest and the way you paint it. Of course, it all influences the color schemes you choose to create your props. So it's very important to think about this as something that will bring variation to your scene. So now I'm thinking, I can have two locks. One on each side of the keyhole. Let's create another version here. It's very important that you explore possibilities. Usually, your first choice is to pull one. So it's important to explore ideas. Remember, concept is all about exploration. If you're do concept art for a game for example, it's expected that you explore a lot before sending in finished versions before actually our directors can pick a finished version. So you're expected to create a lot of exploratory shapes and sketches and CUS and try to understand what's the best design that fits the needs of the project. So keep exploring until you feel comfortable that you have one good version. So this one, I'm using two extra rims of metal around the lid. Let's keep it like this, this a variation of the first idea. Actually, the second idea on the bottom left is pretty cool but maybe a little bit busy. So I think by looking at this, that the upper and the bottom part are not well balanced. So I'm going to add two extra details which probably are going to be metal here. So I can have a better sense of composition for my chest. Remember, you have the composition with everything in your scene and you have the composition of the single elements, you have to think about those as well. This is also something important, always work with the sense of what can you do to improve your design. Otherwise, you're just creating meaningless doodles. So think about what can be done to improve your design. So let's think about this chest here, and let's make the keyhole. I think this is the best design actually. This proportion is a little bit better, it's a little less white. Yeah. I think that's the best. So let's begin considering the gray-scale. Now that I have my winning design, I can think about the ways it's going to be red. So I think about where the lights are going to be, where the darks are going to be, what kind of contrast can I create here. So let's just start by filing this with a flat grade. So begin with a flat brush. I'm only thinking about the dominant tone. So it's going to be fairly dark. I'm not concerned about the beauty of my brush strokes, I'm just trying to fill this with a flat gray. Now that I have my dominant tones set in, I can start thinking about ways to create contrast. So let's start by darkening the wood portions a little bit. So let's make this fairly darker than the base tone, also at the bottom. Remember, this is the kind of work you do to test how the viewers are going to read your shapes. Is everything clear? Are they going to be able to understand what they are seen in like a couple of seconds? So let's make the metal portion a little bit lighter, and this introduced a little bit of contrast to my chest. So you can see now from a distance, I can tell what is light, what is dark, and there is a certain rhythm and the patterns of light and dark, and this is very desirable. Let's bring a fairy dark color to the keyhole to the center. Preferably, something almost black because this is the focal point actually. Now with an even lighter gray, let me create some highlights here to simulate the turning angle of the metal receivable light. So we begin to have a little bit of volume, even in this front view, which is pretty flat. But this highlights actually introduce a volumetric element, and make us believe that this is not flat any longer. So I'm applying some highlights to the rim of the metal around the keyhole. Let's create some highlights also on the wood portion, they are going to be lasting task because they reflect a life differently than the metal portions. So, but this all helps conveying the idea of volume. Of course, whenever we choose our color scheme, we have to choose accordingly. We have to choose our color scheme in a way that we have the colors matching the contrast of the tones, which is pretty much I think what I can handle now. So what I'm going to do is after duplicating, I'm going to create a new layer and clip it to the layer below, so I can use the color's constrained to the gray-scale scheme I created. Let me move this away a little bit. Let me put this up here replacing our front view, and let's go to the colors. I'm going to bring a color scheme I thought off for this, and I'm going to explain to you that. So it's a fairly warm. So want this to be like wood and golden pieces of metal, so I chose a fairly hot colors scheme. There's a lot of contrast on it. You can see from the two dabs of color at the bottom, which I am adjusting now, they are pretty light. The two dabs of color at the top, they are pretty dark and intense. So I'm going to have a lot of contrast for this chess. So let me lock this layer, so I don't accidentally paint on it. Again, let's clip this layer to the layer below, and let's put this layer into color mode. So I can just add color by taking advantage of the tones I already have. So even the highlights, I'm going to touch up to highlights later. But I could pretty much use this. You can see now that this looks like a good wood color, it's a good start for me. Let's handle the metal portions. So let's begin with this bright orange here, and of course, there's work to be done on top of that. But this creates a strong focal points in any environment, because the environment for the project we are creating, they're mainly done with blues, aquas, and cool colors, and this is a fairly warm scheme. So this is going to draw a lot of attention. So now I'm working with a little bit more of a golden color on top of the orange, so I'm taking advantage of the transparency of the brush strokes, and the two colors are visually mixing, and this looks like a good representation of a golden material. So remember, materials are very important because they create variety in your scene, as I said before. So the highlights are going to be fairly yellow, and I'm going to have the highlights on the wood, of course, much darker than in the metal but they don't need to be an interesting. So I think this orange is a pretty good color for the highlight on the wood. So let's organize everything now into a beautiful presentation. This is actually pretty simple and pretty direct, but always think about the color scheme that matches your project. What are the needs you have? Wheres is this going to be? What kind of colors do you need? What kind of saturation do you need? Is it something that's going to be visible, or it's something that's settle more merged with the color surrounding? So this is really important. Now I'm working on aligning things and making a beautiful presentation format project. So I have here the front view, the side view, the perspective view, a color scheme, a gray-scale view, and a colored version of the chess, as well as some variations at the left. So this makes a good what we call a model sheet. So we can have this presented to our directors and to other artists in the project. So thanks for watching, and I'll see you all in the next video.
