How to Plan Awesome Watercolor Art | Robert Joyner | Skillshare

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How to Plan Awesome Watercolor Art

teacher avatar Robert Joyner, Make Art Fun

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

64 Lessons (8h 44m)
    • 1. Class Overview

    • 2. Materials

    • 3. The Four Step Process

    • 4. The Next Three Days

    • 5. The Why - Walkway

    • 6. The Why - Yellow Umbrellas

    • 7. The Why - Tea Kettle

    • 8. The Why - Cool Car

    • 9. The Why - Coastal Scene

    • 10. The Why - Docked Boats

    • 11. The Why - Rural Scene

    • 12. The Why Assignment Instructions

    • 13. The Why Assignment Reel

    • 14. Robert's Assignment Reel

    • 15. Composition Element: Rule Of Thirds

    • 16. Composition Element: Symmetry

    • 17. Composition Element; Leading Lines

    • 18. Composition Element; Cropping

    • 19. Composition Element: Depth

    • 20. Composition Element: Arrangement

    • 21. Composition In Action: Walkway

    • 22. Composition In Action; Yellow Umbrellas

    • 23. Composition In Action; Tea Kettle

    • 24. Composition In Action; Cool Car

    • 25. Composition In Action; Dock & Boats

    • 26. Composition In Action; Lone Boat

    • 27. Composition In Action;'L' Shapes Boats

    • 28. Composition In Action; Vertical Trees

    • 29. Composition In Action; Brown Building

    • 30. Composition In Action; Rural Scenery

    • 31. Composition In Action; Cast Shadows

    • 32. Composition Assignment

    • 33. Value Introduction

    • 34. What Is Value Hierarchy

    • 35. What Is Value Hierarchy Continued

    • 36. Composition & Why Critiques

    • 37. Composition & Why Critiques

    • 38. Composition & Why Critiques

    • 39. Composition & Why Critiques

    • 40. Value Hierarchy Blueprint - Brown Building

    • 41. Value Hierarchy Blueprint - Yellow Umbrellas

    • 42. Value Hierarchy Blueprint - Walkway

    • 43. Value Hierarchy Blueprint - Lone Boat

    • 44. Value Hierarchy Assignment

    • 45. Color Harmony 101

    • 46. Color Harmony 101 Continued

    • 47. Boat With Chromatic Palette

    • 48. Boat With Chromatic Palette Continued

    • 49. Boat With Chromatic Palette Final Layer

    • 50. Student Value Critiques

    • 51. Student Value Critiques Continued

    • 52. Student Value Critiques Final

    • 53. Boat With Tonal Palette

    • 54. Lone Boat With Tonal Palette Continued

    • 55. Yellow Umbrellas With Tonal

    • 56. Yellow Umbrellas Tonal Continued

    • 57. Yellow Umbrellas With Chromatic

    • 58. Yellow Umbrellas With Chromatic Continued

    • 59. Walkway Demo With Chromatic Palette

    • 60. Brown Building With Chromatic Palette

    • 61. Brown Building With Chromatic Palette Continued

    • 62. Final Critiques

    • 63. Final Critiques Continued

    • 64. Recap & Closing Thoughts

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About This Class


Awesome art isn't by accident, or luck. It's Intentional!!!

In this 30 day workshop I will share a four step process that will teach you how to plan for awesome watercolor art.

It's designed for experienced watercolorists that have been around the medium for a while and want to take their art to the next level.

Here are the four steps we will cover;

  1. Step one; The Why - This is the key to making meaningful art. Without a why the art will often become flat, trite, or boring. One needs to have a reason for painting art and a why is key for developing strong areas of interest in the painting.
  2. Step two; Composition & Design - Here we will take on an often forgotten, or ignored, area of art making. It can be confusing but we will simplify the process into simple, tried and true methods that work.
  3. Step three; Value Hierarchy - A huge piece of the puzzle and again, often ignored because creatives tend to only focus on color. Values are what 'sells' the composition and the why to the viewer.
  4. Step four; Color Harmony - There are two main categories for creating color harmony. And neither one is color matching! Trying to replicate the hues in nature, or photos, is a waste of time. Instead we will pick one of two paths and they are chromatic or tonal palettes.


  • This is a 30 day event that will start on March 31st
  • It will end on April 30th
  • New lessons will be released Monday through Friday
  • There will be critiques along the way
  • It's important to keep up with the class and get your project started ASAP so you can get feedback on your work

I hope you enjoy the class and I look forward to working with you.

Need Watercolor Supplies Shared In This Class?

View all materials and purchase links here

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Robert Joyner

Make Art Fun


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1. Class Overview: Hi there. I'm rubber Joiner and welcome to how to plan for awesome water color our work. And this class, I'm going to show you a four-step process that will get results. Step 1 is going to be the why, why are you paying this piece? What is it about the photo or their reference that excites you? Sometimes it's there in plain daylight. Other times we had to tweak, edit or add things to make that why more compelling? And in step two, we're going to look at composition and design. So we're going to take things, simplify it into shapes, and we're going to rearrange those shapes if necessary to create a better composition. Step 3 is value hierarchy blueprints. We're going to arrange values in a way that's compelling and it helps to sell the why in our artwork. And lastly, taller. Now, color isn't about trying to mix the perfect color that we see in the photograph. That is a very beginner mistake that we don't want to do. Instead, we're going to use color much more strategically. We artists have a lot of tricks up our sleeves. And I'm going to show you quite a few of those when we get to this stage. Now this is an advanced watercolor class. If you are a beginner, I would highly recommend you go back and check out some of my beginner watercolor classes, build up that foundation, get familiar with the medium, work on with some of those common drawing issues, and then come back to this class. It's always going to be here. It's not going anywhere. So take your time. I just don't want you to bite off more than you can chew. So without any further ado, we're going to kick things off with materials. I'll show you some of the things that we'll be drawing with in this class, some of my watercolor supplies. And then we're going to have a discussion about the four steps. And then of course we'll start with the why. Now I don't know about you, but I'm excited to get started. So Cisco. 2. Materials: Okay, a quick look at materials. This is a John pipe palette. Plenty of mixing area. Again, I'm only showing you this because you may have questions about some of my brushes and colors sold. Again. This is you can use whatever you have, whatever you're comfortable with. I'm only showing you what I have. My colors are lavender, neutral tent, cobalt blue. Sometimes I'll use cerulean blue, ultramarine blue, burnt sienna. This is going to be my yellow ocher cad yellow, pale Alizarin crimson cad red, medium cobol or cadmium orange. And then a little bit of opera over here. You can see I don't really like to clean my palette and I use a lot of this for mixing. I like having something there to work with. And therefore some of my highlights I like to use titanium white and won brilliant. So you will see that over here. So again, just an FYI, I, on my colors, my brand is Holbein. Prefer Holbein. I've used it since 2000 year 2000. And I just have had a lot of luck with it and I just liked the colors and the brand. Any others? For watercolor paper, I'll be using Waterford Saunders. This is 15 by 11, but I will cut these down to 11 by 15. And then sometimes I'll cut that again into like an eighth of a sheet. So Baidu am going to be using good paper. If you want to use student grade paper like for your value studies. Once we start doing some of this value hiker hierarchy blueprints, That's fine. But you know, for your finished paintings and things like that, I recommend good paper. This is a 140 pound cold press by him full sheets which is 30 by 20 two. And then I just sort of cut them down into smaller sizes. For my brushes, I've got two sword brushes. I've got a large, this is a half-inch by Princeton Neptune. This is a silver black velvet, a quarter inch. I like both brands. These are very affordable synthetic brushes, but silver and Princeton or my, the brands I recommend, but I do have a SCOTUS to I've got a large pointed round. I also have a small pointed around. I like this over my golden natural silver pointed round because it gets a much better point as you can see. So if I have a no, if I want to get into a little nook and cranny or get these really fine lines. This is my go-to brush. Belt will be using this one as well. Now this is a great brush, especially for doing quick studies and stuff like that. And I have a large quill. This is a Neptune print, Princeton Neptune number eight. So for putting down a large area of color, that's going to be the brush I use. I also will have a little bit of masking tape to tape my paper down on the back or the corners. Recommend having some rags around. You'll see me using this quite a bit too dry to extract the water off my brush into, dry up any excess water. You can also use paper towels on their good to have around. You're going to be doing a lot of drawing in this class. So either have a to B or whatever, this is, a to B. And I've got it for bees as well. I'll also probably use my sharpie and then a kneaded eraser. This is my drawing paper. I get it like 500 sheets at a time. I think it's 23 by 15 or so. And again, I'll cut these down, sometimes the smaller sizes, but on paper and pencil is a must and will be doing a lot of drawing in this class. And if you want to use print paper, scrap paper, you can draw in an envelope. I don't care. Just make sure you have pencil and paper ready to go. Apart from that, I've got a drawing board here, which I will show you. The paper is usually clipped, so I've got some clips up here. I usually clip my drawing paper to this big piece of foam core and that's cut out about the size of the paper I use. And then whenever I'm doing just watercolor, I have a piece of foam core down here, so this is a little bit thicker than the traditional. This is gator board, I'm sorry. So that's gator board and this is just standard foam core. I will put on top of that when I'm drawing like with pencil and paper. And then when I'm doing a watercolor, I will take the gator board and then I will put my sheet of paper on it, like so. And then I'll just tape the corners down. And then I've got, you can use a two by four. I've gotten to some old rags rolled up there. I'll put like that and that just keeps my board at an angle. So that's pretty much it. 3. The Four Step Process: As I mentioned in the introduction video, there are four steps to this process. So I'm going to elaborate on that a little bit. And then we're going to get started. So number one is the y. So we have to have a reason why we're painting something. So what are you trying to say? Is it a the lightened shadow on a building? Maybe it's the time of day, maybe it's the sunset. Sometimes it's visible, so it's there. And we just have to create a design and a value structure to bring it out more, to make it have more impact. Other times, we may have to edit the image. A lot of times we have to do that in order again to have a y. Other times we have to add it. In other words, maybe the image is good, maybe it's a beautiful layout of buildings and it's got wonderful lightened shadow, but there's not really a strong why. Like maybe adding a figure next to a boat to figures having a conversation on the street corner, something like that, that will enhance it. But any case, we have to have a reason and we have to know the reason why we want to paint that particular piece. Step 2 is a strong design and composition. So the design and composition is about how you're going to put your y on the page. So that's going to involve how you arrange the shapes and also how you edit the shapes that are there. In order to do this step, we must simplify. Okay? So we had to take the shapes and dumb it down and come up with a more generic version of the composition. And we have to make sure that we have a large shape, a medium, some smalls and so on. And we want it to kinda lead us into why. Okay, so that's step 2. Step 3 is going to be value hierarchy. And value hierarchy. We're going to look at the design and composition as a whole and a range values in a compelling way that's going to sell the y. And this means again, we're going to have to edit values. So we do not copy. The values that are in the inspiration image. Okay? We have to edit them in a way that creates the illusion of depth, or we have to arrange them in a way that kind of pushes the eye to where we want the viewer to go. And of course sometimes we have to add values, okay? Whatever the situation is, we have to create a blueprint for our values. Okay, we cannot ignore this step because if you do, you're going to start painting a, you're going to have no idea what you're doing in terms of value structure. And you're just going to be slapping color anywhere you want, and that is a beginner mindset. The last step is color harmony. Again, we need to arrange and plan the palate. So we need to decide if it's a warm or cool painting. We need to decide if it's going to be a tonal or chromatic painting. Those are the two choices that I like to use. There are other ways, but I think simplifying color here is important. And then we need to obviously edit hues. So again, we do not copy colors that are in nature and in our paintings or photographs that we're using that as amateurish, okay? You're never going to match nature. You're going to lose every single time. And a better plan is to come up with a idea of the colors you would like to use, a palette and then decide, well, do you want it to be colorful? Do you want it to be more tonal? And then mixed colors that flow with your vision. But trying to copy is wrong because if he soon as you start to copy colors, now you're thrown off the value hierarchy because you don't really care about value anymore. You're only trying to match colors. So the blueprint is going to guide us here. So these are the four main steps we're going to take in this order. And it's very important that we do that in order to create that awesome. Had finished watercolor art. Okay, so that is an overview of the four steps. And then sort of what you can expect along the way and why we are doing them. It's important to start here because again, if you don't understand the why behind the artwork, then you're in trouble. And a lot of times this two, we simplify the idea you will find and discover that needs to be simplified. So we will look at an image and every image is usually complex. It could be a rural landscape, it could be a urban scene, it could be a complex still life and so on. But we have to sort of simplify and find one idea and not try to take on the whole thing. And then the art becomes so confusing that we don't even know what we're trying to say with the piece. Okay, a lot to cover, a lot to be excited about. But we're gonna spend the first week here, the second week here, the third week here, and then the final week here. So a lot of this will be done with pencil and paper. Maybe when we get to this step, we'll do a little bit of a monochrome studies with watercolor. And then when we get to the final stages, where we're ready to add the watercolor and Noble going, I'm going to show you a technique we can use where we'll do a three layer blueprint. Alright, so that's the deal. 4. The Next Three Days: For the next three days, I'm going to share a series of videos that's going to cover the why. Now there's absolutely nothing you need to do other than grab a piece of writing paper or a notebook or whatever you'd like to use. And take notes, take notes on each one. I'm going to do a series of 10 images. And with each image, I'm going to go over the y for that image. So in other words, someone I see the picture, what is it that I like? And sometimes that means diving deeper inside the image. Other times it may mean adding things to it. So in other words, I liked the image, but there's not a strong enough Y. So I need to add something to it to bring that. Why Ford to give it more meaning. So again, for three days, I'm going to cover ten images. It will probably be three images the first day, three images the next, and then for on the final day. Now again, take notes because each one is slightly different. I'm going to make changes. I'm going to use image in a different way and give you several techniques that you can think about when you're starting to choose your image and deciding on your why, and start your project with your notes. So post your notes. Hey, this is day number one, these images that Robert Robert used for his why. These are some of the reasons why he liked them. These are some of the changes he's thought about making and so on. And once you start writing those things down, they become a little more solid things that more likely to remember and use when it comes to your turn. So that brings me today for on day 4, I'm going to make a commitment. So I will look at these ten ideas and y's and decide on which one to use for the next stage. Okay. So on day 5, actually 45, it'll be your turn. So you will have a chance to either use your images. So maybe photographs from your neck of the woods could be a still life, it could be a landscape, whatever subject that excites you, then you can describe the image, what it means to you and then share a y for that. And whichever image you decide on, that's the one you're going to stick with all the way through. So you're going to take that one image, that one y. And we're going to put a design and composition around it. We're then going to put a value hierarchy around it. And then we're going to finish it off with some color decisions and then create our final piece. Okay? Again, this first series, or three days, will be more of a watch and listen and just take notes, absorbed the things I'm sharing with you because step one is probably the most important one. They're all very important, but you have to have that connection to your artwork is should be very personal. My y's will be different than yours and so on. Okay. But it needs to be meaningful. And from there, I think you're going to find that your art becomes very personal then, now it speaks about you and your vision and then you can create are around that. Okay, so let's get started. 5. The Why - Walkway: Found this one online. And it was kinda of a small resolution or low resolution, but for now I think it'll work. So what, what's my y here? First of all, I think it's an amazing arrangement of shapes. So my y is just the composition and it's hard to find these. You don't often find images or I don't have this wonderful layer of design behind it. Usually I have to make changes as suit my needs. But let, let me kinda show you a little bit about what I'm talking about. And again, we're going to get into design and composition later on. But this particular piece just so happens to have a y that is an amazing design. I wouldn't want to work with it a little bit, but so let's sort of get into it though. So you have this, let me use my blue marker here to go over it. You had this leading line come in and that takes you and like this. So kinda think about that as like a pathway. And then, you know, then we had this kinda of other shape that cuts back in here. And then it all kinda takes you when to this sort of shape and it's got a nice color to it. There's a little bit of the image itself is a little bit gray and muddy. And it has this little pop of yellow and a red roof. We have all of these shapes in here too are kinda very hard edges. This all man-made stuff. So everything is square, boxy, sidewalk. You know, we, we tend to make things this way. And then we had this organic bush tree right in here. And then in the distance and we just have some buildings or some sort of land back there. And then of course we have our water here and then the good ol sky. So to me, I just love how this one looks as it is. So the initial entrust here, my initial y, would definitely be the potential of that design and composition if I take the image away for a second here, That's what I like about it. Other things I would change maybe. But if we look at this and it's got a lot of tons of potential to spark of an exciting piece of art. So it's interesting because this particular Y is sort of built in. It's an example of an image that has a built-in. A built-in. Why? I would want to do some work though. I will want to add some people. And I would want to think a little bit more in the color range. You know, maybe not so many grain muddy colors, kinda clean that up. But for the most part, we're again, the y is sort of air and the only thing I'd have to do would be to spruce it up in the design and composition part just to give it a little more activity, a feeling of decent people, they're hanging out by the building or walking along that little path. I'm not going to get into that now. That's going to be something I would do at a later stage. But for this example, again, it's a built-in y. And you're going to discover, think that there are, sort of, ah, classify them as 22 ideas in terms of, uh, why it's either built in, which is what we had here, or we have to add it. And we're going to do an additive course as we move forward. But anyway, I think that gives us a start. And I'm giving you sort of, you know, the reason why I like it. And we did the little tracing there. So you can see that's what my I see. So I know there's a building and these different things, but right away I just see these lines and these shapes that are very well arranged. And again, I'm not going to elaborate too much on design and composition right now, but I just want to bring that out. And then in the next lesson we'll cover a different scenario. 6. The Why - Yellow Umbrellas: Example 2. The thing that catches my eye right away is going to be the yellow umbrellas. So why is yellow umbrellas numero uno? But I also like how they're arranged. So there at the bottom of this kind of vertical space. And I'm sort of sort of, you know, right in here. I mean, we got all these umbrellas and their dwarfed by the building. And what's going on up here, which is cool. Now, I would have to work with this a little bit. The design phase, which is fine. I love working with that stuff. I'm a nerd about it. But for the most part, I think for me to pull this one off, which I may do is I really like it. Would have to think about how to handle everything else. And then also how how I would approach making the umbrellas maybe more of a statement. And maybe that can be done by downplaying everything else. So in other words, again, but we're gonna get into this as we get into design and composition. So like if I were to say add the building, you know, these are the things I sort of go through my head. So when I start to see a y, I'm like, well, that's cool, but how was I going to work everywhere else? And it would work be like, how would I let say? Let me be a little more specific and direct about the why. So words if if I'm sand, these umbrellas are where it's at for me. I had to get it to a stage where I'm like, okay, now what then I wouldn't need to sort of had this idea about how to make the umbrellas a star. And if I can't like envision that, then it's hard to pursue it. But for me, I can say all right, I can do it because what could happen is I could downplay everything else. So I would take this building and make it into a very dole statement, very little details, very little activity. And then put all the color, all the pop of color right here because that's what's catch him. I write, it's again, yellow umbrellas and maybe some figures under their eating and things like that. I'm like, yeah, I could definitely do that. And you know, so imagine a loosely paint in building tons of soft edges, very little detail merging with this pop of yellow, yellowish umbrellas here just with some figures under there. And that's the focal point, right? And it fits in nice, so it fits in right here towards the foreground and in one specific area of the edges. So of the frame. So I'm talking about this format here, this sort of rectangle I have. So I like that. I mean, that will be in an incredible painting to me. It will come down to the next stage, obviously bringing in our design and working out those details. But I think it's definitely worth pursuing and right now I would put it above my first example. But for right now, we're good to go and that's all we need to cover. 7. The Why - Tea Kettle: All right, Here's an example of something like, I like the simplicity of it. So we have a simple still life. What I like about it now I'm not saying it's mob. Why was I like the way it's turned out perfectly sideways. Let me make that a little bit bigger. And I'm so anyway, we've got that and then we've got like the spout coming off like this. So I like that perspective, you know, uh, like that. It's kind of a three-quarter view. You know, if you were looking at a portrait or head of a figure, you may, you will get that three-quarter look. So things are in a slight angle like that. That's pretty cool. I'm now in terms of, uh, why, I'm not sure, like that's enough for me to get excited about and want to paint that I want to make something really awesome from it. So for me I think what I would like to do for something like this would be to maybe add some sort of pop of color. You know, like we've got this yellow or white, but I'm thinking like a yellow. So like maybe adding a limited wedge or something like that. So let's say I did this kind of half a lemon and then a little wedge here, something like that, would make that a little more exciting and give me kinda a stronger y to payment. So let's say a kinda outline in this lemon wedge, so it will be in front of it. And then maybe this would be like a half a lemon, right? Something like that. And the shadow, the light is coming from this side over here. So like trying to feel my way around it. So we would have some shadow maybe going up on the piece here, shadow underneath. Yeah, I mean, I think something like that might be fun to explore is kinda like one of those situations where the y really had to be added. So even though like the simplicity of this shape, so we just had this column will do this very crudely. So we had this kind of basic idea of this ketal and I like the perspective of it. No, I thought it just needed something else to really make me excited about it and to give it that, that reason to paint it, you know, that fun sort of thing. And I thought the color was good. So having the color like that would give it that strong y. So again, the Y would be these lemon wedges, so this pop of yellow, so we'll add, add a pop of yellow using some lemon wedges. So now whenever I go to paint that though, I wouldn't need to do some work, right? So if, if if I'm saying my y is going to be this pop of yellow in front of this plain Jane White. Sort of cattle, you know, then I need to think about that in the design and make sure that, you know, that the cattle would be, wouldn't compete with the idea of this yellow and the lower left-hand corner. So that's something that would need to be done in stage 2, mainly in the design process. And then in stage three, working out the values which should be pretty easy. And then stage four really is a key to, because Stage 4 would be color. So those stage 24 would really make or break this sort of Y. But anyway, I like it when the developing a little bit more. But again, this sort of thing happens all the time. So like may see a building or a may see some sort of car, like an awesome old car. And my arm is such a cool old vintage car because those are the things I like and that appeal to me by my well, I can't just paint that by itself or it'll be a little bit boring or just looked like a portrait or something. I would want to make it into more of a fool on design and painting. And now I have to add things around it. So in this case, I had to add something to it to make it to work. So I had to really add the y. But I think this is a good example, something to think about whenever you're looking at your subjects. And again, I'm going to give you seven more examples. So we're going to cover different scenarios. And before I leave this one, I know that my y's are going to be different than yours because oftentimes a y is very personal. They're things and that you visually are attracted to. They may be things you do. Maybe you like drinking tea or coffee. And you see a coffee kettle or coffee cup or whatever, a bag of coffee that excites you because you have some sort of connection to it. Um, you may have a sailboat and maybe you're you and your husband or wife or whatever your family, you guys go sailing every summer, you take a some sort of cross-country trip. Maybe you're an experienced traveler. Maybe you've gone to different parts of the world and you have connections to architecture and Paris that I don't have. Maybe you like ping painting figures walking down the street and so on. So you're wise, should be very personal and they should say something about you. The things you like to do. They're either part of your life or have somehow connected with you through experience, vacations and so on. So anyway, that's just kind of a side note about why and kind of what that should mean to you. And what's cool about that I think is, you know, we're all different. We all have different experiences in life. Those experiences, in my opinion, they should be a part of your art, you know. And you'll see if you ever looked through my portfolio, you'll you'll see tons of like old work boats, lobster boats, things like that, things like in Maine that i've I've been attracted to, but taking vacations to mean I've worked on old fishing boats, worked on commercial fishing boats in my early twenties. So I have a natural connection to old heart node, to the docks and that kind of rustic look, old fishing boats and it's not like fake, it's just part of my life. So anyway, I just wanted to kinda share that with you. 8. The Why - Cool Car: Okay, here is a y. That is the car. Careless really about the building, the trees or stop sign, anything else here? I just think that's awesome car. And I would love to build something around that. Obviously this particular composition. And the way I'm looking at it doesn't excite me. So I will go take this and go to stage two, the design. And figure out what I need to do to make more of an impact on it. And nor, in other words, I want the car to be in it. I want it to be my Y, the sort of the star, but I would need to change the way it is now and how it's situated in the composition because I mean, it looks like a supporter it so someone walked up and probably felt the same way as I did and it's an awesome car, I'm gonna photograph it. So for me I would want to be a little more clever and methodical about how I fit it into my artwork. So wouldn't want to copy the composition and the image. Basically, I would want to do something to make him our own, but there's my y. And this one is kind of twofold here. So my Y, there's like two reasons or things that really catch my eye. And one is I love this sort of almost an arrow or something, taking you out and leading you into the boats. So while y would be the peer as a I'll just call it a lead in for lack of better term or bird. And then the boats in the harbor. So when I look at this, my y is Hey, come with me and that's the peer to peer saying, Hey, come with me and look at these awesome boats. Okay, so that's a big fat arrow. Take him in to that. There are some things I would tweak and the composition again, to make it personal, to make it my own. And those changes will be made strategically in a way that it doesn't detract from my y. But that's that. Here's an interesting one because it's very, very complex. So when I look at this scene, I love it. I love the nautical stuff. I love harbors and boats and all of this stuff. But man, if I tried to cram all of these things, the boats here, the boat there, the little building structure, the trees around it. All of these little boats back here, the distant land. And we have the sidewalks, I mean, could gracious. I mean, you talk about a clutter. It would just be a mess. So I love the scene. As soon as I saw this picture, I was like, Oh my gosh, I gotta save it. Now, say that to my archive. And truthfully, there's probably 20 different paintings here you can make. And y's would be maybe different for each one. So my Y and Y, and that's kinda of now. So I'm looking at it at the moment. Is this boat right here. So we've got this little boat up on some sort of stilts or something, obviously getting some work. I like There's a little ladder in there and I could see like a figure standing on a ladder, maybe one on the ground. I'm getting into composition now, but I think I could build a y around that. Ama, call it the small boat. And it's small compared to these larger ones in the foreground. So that's sort of where I'm at. And in order to make that work, obviously, there will be a lot of editing going on. And I could probably take all the elements or some of the elements I see in the image and build something around it using some of those things. So for this image, I'm going to say my y is going to be this boat right here. And I wouldn't build again, a composition and design around that. 9. The Why - Coastal Scene: Okay, here is a y. That is the car. Careless really about the building, the trees or stop sign, anything else here? I just think that's awesome car. And I would love to build something around that. Obviously this particular composition. And the way I'm looking at it doesn't excite me. So I will go take this and go to stage two, the design. And figure out what I need to do to make more of an impact on it. And nor, in other words, I want the car to be in it. I want it to be my Y, the sort of the star, but I would need to change the way it is now and how it's situated in the composition because I mean, it looks like a supporter it so someone walked up and probably felt the same way as I did and it's an awesome car, I'm gonna photograph it. So for me I would want to be a little more clever and methodical about how I fit it into my artwork. So wouldn't want to copy the composition and the image. Basically, I would want to do something to make him our own, but there's my y. And this one is kind of twofold here. So my Y, there's like two reasons or things that really catch my eye. And one is I love this sort of almost an arrow or something, taking you out and leading you into the boats. So while y would be the peer as a I'll just call it a lead in for lack of better term or bird. And then the boats in the harbor. So when I look at this, my y is Hey, come with me and that's the peer to peer saying, Hey, come with me and look at these awesome boats. Okay, so that's a big fat arrow. Take him in to that. There are some things I would tweak and the composition again, to make it personal, to make it my own. And those changes will be made strategically in a way that it doesn't detract from my y. But that's that. Here's an interesting one because it's very, very complex. So when I look at this scene, I love it. I love the nautical stuff. I love harbors and boats and all of this stuff. But man, if I tried to cram all of these things, the boats here, the boat there, the little building structure, the trees around it. All of these little boats back here, the distant land. And we have the sidewalks, I mean, could gracious. I mean, you talk about a clutter. It would just be a mess. So I love the scene. As soon as I saw this picture, I was like, Oh my gosh, I gotta save it. Now, say that to my archive. And truthfully, there's probably 20 different paintings here you can make. And y's would be maybe different for each one. So my Y and Y, and that's kinda of now. So I'm looking at it at the moment. Is this boat right here. So we've got this little boat up on some sort of stilts or something, obviously getting some work. I like There's a little ladder in there and I could see like a figure standing on a ladder, maybe one on the ground. I'm getting into composition now, but I think I could build a y around that. Ama, call it the small boat. And it's small compared to these larger ones in the foreground. So that's sort of where I'm at. And in order to make that work, obviously, there will be a lot of editing going on. And I could probably take all the elements or some of the elements I see in the image and build something around it using some of those things. So for this image, I'm going to say my y is going to be this boat right here. And I wouldn't build again, a composition and design around that. 10. The Why - Docked Boats: All right, with this one, what appeals to me are the boats, the white boats contrasting against the muddy brown backdrop, the docs. And then you sort of have a brownish green water. They're like the reflections to come and down in the boats. But, you know, it's a great composition too. So initially, what you have is I'll kinda given, give it a very generic kind of, the way I see it is you have this sort of wedge moving in like this. And then it gets back like that. And then this kinda wedges down like that. And I like that. So basically you have your boot and here kind of like that. And then all of these other boats kind of trickling back here. Now I love all the homes and different things back there. So I guess what appeals to me here is going to be that composition, you know, this sort of wedge coming in, then gone back like that. And then you had this lovely kinda shapes here, especially the home silhouetted against the light of the sky. He get the nice roof lines. And then you get this sort of organic feeling of the trees and that mass from this boat piercing up into the sky. And that's what appeals to me. This one would be tricky though. This, a painting like this can chew you up and spit you out if you're not careful. So when we get to the design phase of this one, composition and design, I'm going to go over how I would downplay the buildings. And so that I can make the boats, the white of those boats pop out and become more of a star. But so that's what appeals to me. So I guess to sum it up, the why is built-in and it's that overall flow and design of the piece. And again, it was built-in. So that's makes me happy, so we'll go with that. But again, it's going to need some work. But we'll deal with that when we get to the next stage. Alright, this is another one found in very, very appealing to me. Again, I would say the overall attraction for me are, is wedge leading you in. And then it sort of stops you right here with all the buildings and the mass of stuff happening back there. So you get this leading path sort of thing, and then you get these strong verticals of the trees, especially this one right here. So there's strong verticals sort of piercing this flat area. Solid, probably play up those trees a little bit to give it that sense of a nice vertical gone up. Because I think that's balanced, right? So you get this sort of flat feeling here. Flat, flat, flat, flat. And then you get these verticals. And again, you may look at this and be attracted to the person pushing the bat, you know, the a baby stroller and maybe mom back there and stuff like that today, I would definitely include the figures. But when I get to the design phase, I'm going to talk about maybe how to dress up this area back in here, maybe a few boats, but not too much because we want the weight of the subject. I'm going to be over here on the right. So it's sort of all balanced, but some are y would be the overall design of the piece. So again, that's built-in. That's nice when we can get that. And in that design, more specifically, it's the horizontal. I'm just going to come probably fit it in. Horror horizontal element of a ground and that sort of wedge moving you in right from over here to here. And then that's balanced or counterbalanced by strong verticals. So that's my Y. 11. The Why - Rural Scene: Like this for a lot. The thing I like about it is the sort of rock color like that. Brown brick. I love the shadows coming off of it. I would think that's interesting. I like this sort of light signage in the sky here. So looking at that, they're going to be fun to play with like a little thin liner brush and just sort of making that into something and get this antenna. These antennas sort of piercing up into the sky. Loved this tree coming over from the right, you know, these kinda leaves fluttering there, you know, off to the side. So maybe I would play that up a little bit, but it needs something else. Maybe a stronger cache shadow coming across the foreground. But the y would need to be built in a little bit. So even though I like this scene, I think it has a lot of potential. I think I would do a series of a like a lot of figures in here, maybe heading in leaving work or something like that. Maybe even add a little car right here just to sort of break up this hard line of the bottom of the building. So I think for me, I will need to build in the y. So think about why would it be. So we've had this sort of value here and this value I'm putting down now represents the building. So let's say the building is going to be this sort of dark mass and it's sort of like this, right? So I'll want to put these figures kind of walking into it. Maybe you have one a little bit closer to us here, and maybe a little car here. And then we can run that cast shadows coming over like that. Trees kind of dark silhouettes and leaves. So I think for my y, I would need to build, build it to sort of these figures, kitchen light, right? So these figures and a value and talking about value here would be their shoulders, maybe some white shirts, all of that stuff. So they, they, they would sort of be lit up in a light value against the building, against the dark of the building. So again, that would need to be built in this street right here. Like all of this would be fairly light and value to help silhouette the story. But yeah, I think something like that with a really cool kind of a simple car here, you know, maybe the back of the car, you know, it's tail lights or something, casts shadows, maybe a few dark pants, something like that. When they're maybe one figure they are the dark shirt or whatever. So my y would be again, these figures leaving, coming and going a few cars maybe against the dark mass. Here. And again, you have a cache shadow, so that's going to be my Y. So I kinda like that. So it's kinda like one of those things where you're attracted to a shape, you know, this dark shape. For me got these supporting cast of the leaves and the branches coming in like this. But it's not enough, their son enough to really give you a strong y. So for me, adding the figures, giving it a sense of life and activity, a little car they're brings it to life to me and that would that would be my why behind it. All right. With this one, I just loved the scene. I like the barns and the silos. I love that big tree and where's position positioned? So we've got a y here. I'm actually going to make the image a little bit smaller now that you've seen it. But my y, I'm just going to be the scene itself. So the scene or the subject matter alike. The again, the overall feeling of how everything's positioned. There are some things I would love to change in the design. So when I get to that stage, I won't go into detail about it. But some of the things would be like maybe to put like some sort of feel like that road cut across the foreground but maybe like some sort of dirt field right there. You can think of like rose. Rose, like kinda like some perspective lines like that maybe. And then maybe like Stop it. You know, maybe right in here. And then you could continue the grass. We pick a green here. I know this is probably going a little bit farther than I need to tip Anant design, but but it's part of my why. So as part of the vision of what I'm doing. So sometimes when you're looking at your y, you can look at it for what it is, you know, and then sort of try to get this idea built around it. So basically, like if I didn't have this kinda yellow field right here that I just added to it. I'm not sure I would feel the same about it. I would probably even scale down. I'll just put it in yellow here. No, get rid of this big, bro, uh, bushes here and maybe simplify that. Just so I could like show this beautiful dark tree trunk coming up against the light of the sky or something like that. Maybe even make that a more interesting shape because right now you gotta kinda a lot of symmetry going on. With that tree. But anyway, I know again this get into is to design. So I'm going to stop right here. But I will say the scene is lovely. I like how everything is positioned. And I would again, part of my y would be to add this sort of feel where the rows, so we get a nice lead in to the scene and maybe even extend that down in here with the yellow. So like really pulls you in and that's my Y so far did it I would build to build around that and it would still need some impact somewhere about things sometimes instead of just having one little area of the painting. That is the why he now sometimes the scene itself, the beauty of it is the why. And I think just having a beautiful land, natural landscape here, adding a little bit stronger sense of like some sun coming from one direction. So we get some good lightened shadow. Some cache shadows would make a lovely scene. So again, that's my y. I'll do one more just for fun here. And this is one I, I use in the previous workshop and we were working with values. But the why behind this scene for me would be the overall no shapes of everything. So this is again, another scene where it just has some really good bones about it. And I would have to add something there for a little more impact. But now we've got these structures that are moving in from the left. And this is all basically one shape, right? The house, the trees we have. It's really interesting. I'll add the cash, I'll connect the cache shadow to it. So we got the house and it cuts up and then kinda goes back like that. And then we have this little area right here where there's like a little bit of dirt. So basically this is like like low driveway of back in the day. So it's coming down like this. And then we had this kind of patch of dirt ray here. And we have this big tree coming up through here. And then we know it's actually I did that really bad. Let me extend it down. So let's say this is the sidewalk. So right in here, right? And then it has this cache shadow. That's, you know, it's like pooling. That shadow is like pulling me n to the scene. I just love that. I love how pulls into the scene and then almost merges with all of this stuff. And then all of these things are basically 11 sort of shape. And again, I'm trying to explain this wide to you and restore a teetering on design and composition and value structure. But sometimes that's part of it, sometimes that can be part of that y. So again, we've got these shadows like pulling you in, like, Hey, come in and so you come up, you come in and then you have this block of like dark mass like that. And then over here you have an isolated Shri sitting against that again dealing with another shadow sort of running off. But that's my y like that. Just ignoring the fact that his houses, trees and everything. It's just a really interesting group of lightened shadow. So you have this play of darks, and I'll outline it here on the image. So you have all of these darks. I'm going to go around the house. All of this is sort of dark to me. And then it goes up. And then we get all of this. I like that shape right here. This sort of irregular triangle goes back. So that's all of that dark stuff. And then of course you join in the shadows for trees, all of that to it. So this would be a little bit darker once he got into values. But so you kinda put that against it. And it's just like totally awesome composition. And a nice piece. I think that would has just makes for a really compelling and simple, simple idea of just how light or dark against light values like that is all you need sometimes. And it doesn't even who cares if it's a house or whatever. It's just an interesting shape. So if I put a frame around that, sort of what we're dealing with, right. And that's maybe scribbles to you and I may not mean a whole lot. But for me, like once I get it got in here like started clean up those edges. And really playing with these hard edges against the light of the sky and all of this structure, you know, the homes and the trees and stuff against the light of the sidewalk and the light of the sky. That's it. So this is kinda again, one of those examples where the image is doing a lot of heavy lifting for us. And I will just need to be very good with my, with my values and kind of bringing things together in the design and the value part of the piece. But that's it. 12. The Why Assignment Instructions: All right, Time for your assignment, there is a series of six images, okay? Each image is five minutes long. And that should give you plenty of time to just take a moment, 3040 seconds, just look at the image. You don't have to do anything right away. It's important too. Connect to it first, have a look at it and try to find one idea or y. For the piece. I'm, I'm giving you a thing 10 or 11 examples of how I did that. So I looked at the images and sometimes the why is built in. So there's something there already that I latched onto. Other times I had to add the y. So basically I use the image as the sort of the bones for the y. So I liked the cityscape. I was like M, Well, maybe I need some figures, maybe I need a car, and so on. So you may, for example, you may see an image and say, I really liked that, but I'm into bicycles. So I'm going to add a bicycle leaning on a lamppost. And that's going to be sort of my point of interest. So you can think of your Y as a point of interests, but heavy wants you to do it. Now in your exercise, you can approach it however you want to do it. So for example, you may just write it down so you don't have to necessarily do a sketch. I know I use my software and I did rollovers. No, really. You can just kinda have a piece or a piece of paper there. And you can just have one for image Milan and just kinda say, yeah, you know, like the scene, you know, and, um, but for my y, I'm going to have to add people walking and a car, you know, kinda put that minute. You may, for the second one, you may kinda start to write, add an umbrella with someone laying on the beach. So if you want your assignment to be nothing but text, that's fine too. It can be a combination of things. So maybe you see the first image and maybe you're more comfortable with scorn, okay? Yeah, I like that. Sort of has some nice structure to it. You know, I like I like this sort of piece of land coming down and then we had this beach coming like this. But, you know, I want to add an umbrella, want to add a few umbrellas or something. Um, so, you know, it looks more like a beach and some people just sort of hanging out on the beach and that, that small y. So in this case, I did a quick little sketch. But make sure, you know, there's some texts there. So you're like, you know, cool scene. But my y is going to be the people on the beach with some umbrellas. So I don't care really how you execute your assignment. Again, we can go text. We can do a quick drawing. And it doesn't have to be the whole scene. You know, the there was one where I'm just like, okay, well, I kind of just like that boat sitting there on the stilts and that was sort of what I drew out. So for me that gives me enough of a connection to what I wanna do that fill felt like I could take it to the next level of the design and composition. And that's all I needed, but could have easily said, okay, well, like the boat on the stilts. So that's really all I had to do. So the point is be sure to go through each image, take your time. And if you have to pause the real pause it. But make sure your y is good. And it can be very personal. You may, you may see the trees, you know, kinda lining up along the side here and you're like, well, you know, I live in this part of the country where we had these tall, beautiful cedar trees are these evergreens and they had these kind of very conical shape. And maybe that's something you're attracted to. So maybe putting these sort of conical trees and lead up to the structure or house or whatever is more appealing to you and then adding a few figures so your y will be, well, add, you know, these kinda conical trees with a few figures walking. And then we can sort of take that to the next stage and create a design around that and composition, but make it as personal as you want to make it. These images are little bit different than the ones I used. So it's going to make you look at them. And again, you may find y's that are built in. They may not be built-in and you have to add them. And that's perfectly fine. So any case, that's your assignment and joy. And then when you're done, be sure to post your project. Just take a picture of your text, sort of drawings you have, and then upload it so I can see what you're done. And then hopefully, when we get to the next stage, design and composition and things like that, I can start giving some feedback on how we can compose around your y's. All right. I'm the last thing I'll share with you is there will be a notification that sounds like this. So when you hear that No, You have about 15 seconds to wrap up that image and get prepare for the next one. But again, if you need more time, feel free to pause it. Good luck, have fun, and look forward to seeing what you do. 13. The Why Assignment Reel: If you watched the previous video, you know what this assignment is all about. Congratulations. 14. Robert's Assignment Reel: All right. I like this senior lot. It's got a gray while built-in. I'm not crazy about all of the sky. So I think what I'll do kinda start with a square and then yeah, like, Well, I like how all that sort of position in there. You've got this house and perspective. Kind of a little fish shack. They're right. And I'm just sort of fill my way around it like this little dark here. And then we had the distant hills and all of the store that I think what I'm gonna do is sort of stop it like that. And maybe a distant something here. And then we have this little home. Whatever. Here. Yes. So I think my y I mean, pretty pretty good setup here is going to be the this house right here with the peer. The pylons, little shadow underneath. And I'm going to maybe like the idea of a human element. You know, I just think that gives us such, such a nice quality. So it's a really good spot. So I think putting a few figures kinda right in here. Maybe, maybe I'll extend it. Kind of changed the format a little bit. Extended out a little bit. Yeah, Just maybe a little lobster boat or two here. So my y is going to be the house or the little fish shack there. And again, this is ought to work on this and in the design stage to bring it to life with the peer and the figures. So this sort of action here, and I think the little lobster boats back here, I'm just add a little more character to the scenes so we can even do some distant boats here. But again, that's going to be my Y. Alright, so this one's a little more cut and dry here, not as much to do. So I liked the seam. So I can sort of start with my layout. Put that horizon line a little bit lower than that lower third. So we've got this distant beach and then the beach here, and then that. All this growth sort of comes in here. Yeah, I like it. I think adding this already has a few figures there. But think adding a maybe a little umbrella right in here, right? So someone sitting on the beach, couple of figures walking along in here. So all you need. So just kind of a loner with an umbrella kinda fits if all of this is going to be really dark and value that an umbrella could be white. So we have sort of kind of do something like that surrounded by this dark stuff. And then, you know, kind of a loose, loosely painted figure underneath. And then maybe some figures, they're walking along the beach. So I think it's something like that or make for good Y. So basically this one, it was kind of built-in fwrite what the house. So I'm going to backtrack a little bit here. And I added a few figures there to enhance it. So that's a combination of built-in and adding. Here I'm adding some, adding the umbrella with a figure. I guess. You could argue there are a few figures walking back there. I'm going to crop it a little different. Once I get into the design phase, I'm going to crop it in a way. So we don't have so much foreground and the figures and the umbrella will be a little more prominent. But so that's that. So with this one, again, we've got a great built-in y here. So I like the buildings. So I'm just kinda sketching through my thoughts here. So this lovely building here. It's got all awesome detail. And then we have the wall over here. And it's a strong perspective. So yeah, it's not bad. I think even having these cars and here is lovely. So for me, the y is going to be the light hitting the buildings. And then sort of silhouetted by the dark of these buildings here. So the why is really going to be the light. If I can spell it, LIGO, THT the lightened shadow. And we've got again, this sunlit building surrounded by this, the other dark buildings. So that's, that's going to be my Y. So I'm not really going to add a whole lot to it. Maybe a figure, walk him and hear something. But other than that, I kinda like how the light is showing lightened shadow is a thing on this one. So got an awesome building, an incredible detail and amount of information here. And then we know we have these lovely trees, all that stuff. I think for me. In a scene like this, I enjoy cars and figures. So I am going to, I'll put this sort of tree or rehear just to anchor us in there. But I'm going to kinda make make some cars in here. So maybe one is sort of turning the corner coming towards us a little bit here and do another one back in here, drop in a way, and a bunch of figures going across the street walking. So my y is going to be adding so trees, adding these cars. And I'm going to make sure this building where we have the dome and all of this, that we have a cool car. A couple of figures by it. And then over in here, there'll be less detail. But maybe a few more cars. I kinda moving off in the distance there. And yeah, I think that'll be enough and just sort of loosely indicate all of these architectural detail. If someone to say the y is going to be right here, car with some figures shown in the hustle and bustle of a scene like this. So you don't really see the hustle and bustle there now. But I'm going to build that in, in this area mainly and then sprinkle a few over in here, but that's going to be my Y. So in this case, we've got our lovely scene with some boats. So I like, I like how all these boots are sort of coming up on the bank here. I think adding a figure, sort of leaning over doing some work and to the figure into the boats. And then the distance had that water fade out like that. And I think more, I'm going to show more up here then what's in the image. And then maybe do a distant buildings and just some sort of background there with the sky. And then again, our figures working on their boat and get ready to go out. Salen. So the model y is going to be the boats with figures around them to give it that human entrust. And they're just doing a little bit of gear work, little bit of prep work to go out. And I'm going to work on that design a little bit. Once I get to that stage and make this scene a little bit more interesting. And with this one is, I love it man, this is really beautiful scene here. Let me get my board situated. And me, it's got a lovely built-in s, you know, sort of wraps around and goes back. I think this one right here, we'll just make a lovely built-in y. And this really explore values. So really get that feeling of the distant trees. And then we get this lovely building here in the middle ground, kinda situated with this awesome tree around it. And all of this sort of coming out. We get these rocks and we get this lovely change in texture like that. And then we've got this side over here, which is just some trees and different things hovering over and here. So yeah, I like the like the built-in y here. So I think I'll y would be built-in and really exploring values, making sure I get my darks and here, midtones and really light values back here. And just, just take the scene for what it is. I don't think I need to add anything. I may crop some things, maybe make it less of a wide angle. So we'll do more of a format where it's traditional, four by six or something like that. So I'll may smash it in a little bit and the next stage, but that why to me is as built-in and ready to roll. 15. Composition Element: Rule Of Thirds: Welcome to the design and composition step in this course. And in this lesson, I'm going to cover some of the basics. So before we actually get into my examples, I thought it would be good to cover some, some guidelines that are important to me. And it really comes down to interpretation and how you basically want to put your ideas down on the page or, or Canvas. All right, Now, very important right here, everything starts with the Y, okay? Whenever I'm building a designer composition, building it with the idea that everything that I do has to relate to the reason why I'm paying the R in the first place. So by disregard my y or if I simply don't have one, then a lot of times it's sort of pointless or doesn't really have meaning for the painting. So again, everything I do relates to step one, which is the why, why are we painting it? And then we can build the design and composition around that. Why? To me That's, it makes the most sense. So I do not like rules and art. Very important for me to say that I think there are good and the things I'm going to share with you in the next few lessons or think of them as guidelines. There's sort of a general model about composition that you take to the table. And you, and it's good to have these that way. At least. You have something to compare your art too. So if you have an idea, you want to get down and you had these guidelines, at least you have a checklist or something there to sort of guide you along the way and then you can interpret and use these things accordingly. Okay? Now the first thing I'm going to talk about right here is the rule of thirds. Now typically we see the rule of thirds. What's I just overlaid on the image on the left? It looks like this, so, well, you have here is a grid of nine rectangles. They're all evenly spaced. So when we look at the space along the top here, all of these are equal, pretty much give or take. If we come down the left-hand side here again, all of these are equal. Now, this is okay, you can use a grid like this, but I'm not a big fan of it. I find it to be somewhat symmetrical, which is kinda the guide to what we're going to talk about. So what do you use a grid like this where everything is evenly space than what you have are, is this idea of symmetry right away. Now whenever artists use this sort of idea, they, they will usually place their focal point, like here, here, here, or here. That could be your y. It just depends on what your y is. But let's say for example, I want my focal point to be in this lower right, and I've gotten this bench right here, then maybe it would make sense to put some figures around that bench, sitting on the bench, you know, something like that. And that may be my center of interest or my y for this painting. But again, that's just an example. But getting back to what I'm saying is, I'm not a fan of this sort of layout because I do feel is very stiff. You can't, it's not very flexible. You sorted again and get involved with this symmetry already. What I like to do is have this idea that things are differently spaced. So for me, Let's say if I take this one and slide it over to here, I'll take this one and slotted over to the say here for example. And now I take this, this one right here, and I pull it down to here. And then I have a small one there. So what we have now are two, or actually we have a grid and the grid. And you see if I can get rid of these equal marks here real quick, now we won't worry about it. So the grid is basically asymmetrical already. So what we had almost going to draw over the image here is we have a small, let me do that in red. So we have a small, a medium, and a large, and that's gone left to right. Now from top to bottom, we have, we have a large, a small, and a medium now like that because again, it's very flexible and now you have different sizes, so we have a different size, shapes, and spaces within the composition. So whenever, wherever I use a rule of thirds, I tend to break my thirds up in a very small, medium, large sort of idea. Now if I were to say, take this one and maybe slide it up here to the, say, the top of the house. I could slide this that say two, maybe up a little bit more like this, maybe the bottom of the house, even though it's extended down. I'll talk about that in a second. Now we have for starting to get different sizes, right? We're starting on mood, this top one up a little bit. And we'll move this one about here. So if we look at top to bottom now, we're starting to see this idea on full. Now let's say we take this, this one, slide it over, let's say to here. And then this one on the end is pretty good. But let's say I move it over to about here. So top to bottom and left to right. Here's what we have. I'll do this in red. So I'm working left to right here we have small, large, medium, and then top to bottom we have, we happen to have small, medium, and large. So to me, that's a pretty good layout to use for my design. And again, you may opt to do the equal grid where, you know, it's just all the same thing, all evenly spaced. That's fine. I'm not saying that's wrong. But for me I tend to use this sort of idea. Now, that is basically how, what the rule of thirds is. The, the version of the rule of thirds that I prefer. Now, do I use a grid that's evenly space sometimes, yeah. Again, this is just a guideline and a definition of what the rule of thirds means. Now for example, if I were to take this idea further with these grids in mind here, then maybe I'm gonna do this in blue. Maybe what I will do is I would make this house a little bit bigger. Maybe crop it right here, right? So we sort of get this. Maybe I would pull it over to this grid again, give or take. It doesn't have to be perfect. Maybe I would stop it right in here. Okay. Maybe I would start my house. That kinda shrub right near that is this axis and then kinda do this, maybe this distant ground here, I would kinda move right in here. So kinda put it almost where it is really. And then we have this walkway. I would probably bump it up a little bit and here like that. And we're pretty good. So we've sort of have this house I would maybe downplay, just kinda put some sort of abstract shape in there like that. Okay, Now if I were to go over this again, someone go around the edge here and then we'll remove our grid so that right there gives us, and actually let me remove the image too that way you see it a little more clearly. So that's how I'll works, right? So now when we look at this, no, it's starting to know it looks comfortable in the frame. All right, so basically what I've done is I've taken the grid, right? I've taken that sort of uneven grid where we have small, large, medium, small, medium, large, top to bottom. And now the adjusted my image to fit in that rule of thirds and nothing is the same. So we're not dealing with any sort of even shapes because we used an uneven grid. Okay, and now again, this is maybe hard to digest and envision. But I think as we move forward and we apply these ideas to all the examples I've given you, then it's going to start to make sense. Okay. I promise. So that's that. 16. Composition Element: Symmetry: And now let's talk about symmetry. So let me get rid of all of this stuff here and we'll get rid of the whole group. Get rid of that, and bring back our, our image here. So now with symmetry, what you're dealing with is things that are equal, okay? So whenever you're, and I'm going to do a draw over on this. So we, so we start to kinda see what it is. And again, this is all hypothetical stuff, okay? So if I were to take this and I go, Okay, I like it, but I'm going to plop this house right in the middle of the image, which, you know is a no-no. I'm going to take the land and kind of put it right here, right in the middle. So as equal here, equal here. Again, we had this house which is right in the middle, and maybe we have a walkway. Maybe let's say we have a tree over here that's sort of back. And let's say, for example, we have a tree on this side too, and they're the exact same size. Okay? Again, we're dealing with what bad symmetry looks like. Now we have all of this. All right, so now if I were to take away the image, look what we have here. So we have a house that's right in the middle, right, right bulls eye, right there. We have two evenly shaped, evenly sized bushes on the left and the right. We have a land line that goes from here to here. And let's say even this walkway is in the middle here. Okay? So we have that. So you see how it's getting divided into half. You know, you have symmetry. Here in the bushes. You're, you have your photo, this house which is plot the right in the middle. Then you had this land line where everything is equal top and bottom and then we're equal sort of like left and right. So symmetry typically doesn't work very well. And art, and you want to avoid it. And believe me, believe me, it comes up all the time, even when you're aware of it and you worked on a diligently, it just seems to be one of those things that just keeps popping up and you have to keep your guard up all the time. And what we're looking for is asymmetry. So asymmetry works much better. Okay? So we want things that are uneven, different sizes, different shapes, and not equal around the clock. So again, if I were to bring this one back up and let's go ahead and get rid of this text for a second. And I don't think I need that. There's your symmetry. And now I'll bring back the other example. And I don't think I need this. I don't think I need this. Yes, I need that. All right. There we go. So now when we look at this one, you're seeing a asymmetry. So the house is off-center, right? So it's off to the left a little bit. It's not plopped in the middle. The land line is down here. So we have more space up top and less space down below. So if you measure from here to here, that's taller than from here to here. You also, when I take this pathway now do something like this. You have more space over here and less space over there. We only have one big building or big shrub. So we don't have to worry about symmetry between like trees and shrubs and things like that. But never fails. That artists will put trees and they're calm and their compositions, and they're equally spaced. They're equally sized. And they look the identical shape. And it just doesn't work well because equally size we try to avoid. Sometimes we need it equally spaced, we try to avoid. And equally shaped. They're all sorts of forms of symmetry that we want to use. I'm going to talk about this a little bit later as we move forward. So that's that. 17. Composition Element; Leading Lines: A leading lines or a way into the scene. So you see this all the time and like rural landscapes and cityscapes where you have a street, some sort of path that leads you in to the scene. That's good to have. You don't always have to have it. Sometimes it can be a shadow, shadow coming across the foreground with some figures connected to it or whatever, a building, a tree, whatever can be a river, a lake. Different ideas. But in this case, we've already sort of built in and we had this path that's doing this has taken us into scene. So it's always good to have again, it doesn't apply to everything. Sometimes like when I'm doing a still life with flowers or whatever, I may put the shadow where the light source from a top right-hand side, for example. And then when I'm cropping it, this shadow sorta comes down and a slight angle connects to the side of the painting. And that could easily lead your eye in and then into the vase. Again, it could be a river or a whatever that sort of takes you in. And there's different little tricks and things we can do to sort of do that. And just know for now that a lead in or way into the art scene or the scene, or the art is important. We want to get people in. And there are certain things we can do that what would a block of viewer? So for example, let's say this waterway wasn't there and there was a hedge like this kind of green box would hedge and I'll just kinda color and green. And so it's sitting there in front of the house like this, sort of covering it up. And then let's say our ground is more yellow. And all of this is, we'll pretend is a ground plane. So we had this beautiful lawn that they'd been fertilizing and seeding is absolutely gorgeous. And then we had this lovely hedge that's in front of our scene. But when you have these strong verticals like this, I'll even make this darker since it's a vertical. So this would be probably much darker like this unless the light was in front of it and hitting it. So maybe it kind of irregular shape. But look how that block shoe. So we have no way of venturing pass the hedge. It's like a wall that says you're done. And we can even say that's a green ball. We can say it's a hedge or whatever. So a better alternative would be to say break the hedge, we're going to break it right here, like so. And now you have a way. And so you have a sort of a way to get into here. So you sorta, you're out, you're like you're walking, you're traveling I O bus back here and then you can kind of explore around a little bit. Of course, you could even enhance that even more. You know, by putting in a walkway, a path that takes you back in there. Okay. So now, if you were hypothetically dealing with a scene like this, you're like, Oh my gosh, how does such an awesome hedge and that love that house back there and whatever, you know, that you've got to watch out for that you're like, well, it may be there. But if I were if I were to draw it that way and painted that way, then it's going to block the viewer. So you need to add a way in to it so that's leading. And there's other ways. Again, you can sort of block people from getting around and in the painting, so you just have to be careful of it. And we want a way to get them in, not blocking them and let them sort of, you know, venture around and explore the scene. 18. Composition Element; Cropping: Cropping. So cropping is one of those things that's very important. There are some ideas that you want to avoid more than anything. So this say for example, our tree, which I'm going to outline in blue. And I want to draw right over the image here. Let me get a little bit bigger marker. So let's say this tree is bigger. Again, hypothetically speaking here and I'm gonna make it and black, sort of dark so it matches what we have. And let's say that tree goes way up here. They kinda goes right to the top and then ride to the side and then it doesn't really hit the side. And we had this like little sliver of blue like that. And it's like, oh, it's me. Go over that. So I'm going to again sort of leave that little sliver of blue. And then we'll kinda, again kinda go right to the side and then bring it down. Okay. So that looks a little awkward, doesn't it? And let's say you're like, Oh man, I really need a figure walking in here. So I'm going to put a figure right here, and this is the side of his body. So like let's say this is a shirt and I want to bring them right to the edge but not touch it. Say he's wearing some blue jeans and I'll pull that BlueJeans down and we'll give them some extra long legs because I didn't really portion it. Right. And we'll give the figure are sort of orange face or maybe they're facing us like this little hand. All right. And let's say the boat is there. So we love in the boat or this water over here. And there's a boat right here, right near the edge. But it doesn't touch it. And even like this shadow or this reflection coming down, let's say that boat goes right to the reflection and stops and we got a little mass there, whatever. So those are examples of poor cropping. So you're basically cropping the scene right at the edges of things. And that just looks really awkward. And of course that say we have a white house back here because you see this all the time. It just is an eyesore. And it doesn't work well. And in that house kinda goes right there. So a better alternative would be to leave enough space to where is comfortable or take it off. Now run it off the edge. So for example, if I take those same elements and they will work with the boat. So the boat, maybe I'm going to oh, I can pull down in here. I'm going to go in that reflection in it comfortably and here and then out. So we have plenty of room on the sides is cropping into that reflection nicely and there's our mass. So yeah, that looks much more comfortable. And say our house over here, we want to make a White House that I'm probably going to either crop the house here and make make it look like. And again, if there were a window, we don't want to take that window right to the edge. We're going to sort of pull it back a little bit like that. So maybe one window works better. So it was cropped comfortably off the page. We've got our figure. So we want to pool our figure that say right over in here. So we've got the blue jeans here, green genes, wherever they are. We've got a, we'll give it a red, a red shirt. They're really feeling the color here. Now look at this, watch the head. You see the problem there. So the head is getting cropped and right at the base of that house. So I need to decide, okay. Do I want to go up into the house comfortably and make that figure a little bigger. Maybe maybe something like this. Right. And maybe run the legs off the page, right? Maybe the figure as much closer, much closer to us so I can make that shirt a little bit bigger. Maybe an arm down here. So now as crop more comfortably. And then if I wanted to do another figure back in here that's a little bit smaller, let's say. And we'll give this figure kind of a light orange yellow shirt and just kind of a dark head here. So everything is cropped comfortably there. The tree the tree could just stay like it is, right? I mean, the tree isn't really hurt much. But let's say, for example here, we've got this kinda irregular tree. So I can take it up, like look at that and I'll goes up. It gets pulled down and then off. So the shape go clearly goes off. Then it comes down comfortably. There's plenty of green sky, they are blue sky, they're like so. All right. So now things are cropped and spaced and scaled in a way that we're not getting those awkward sort of tangents. All right? And again, this is one of those things you're aware of. If you're like, man, I know it, I've studied it and I'm always on the lookout for it. But for some reason, it's just one of those things that just continues to count us show up in your artwork. And no matter how much you study it and work on it, we tend to make mistakes and the design part of our paintings where we sort of get, we, we kinda make problems with our cropping. Okay, So again, I just want to kind of explain in a little bit of detail what these things are. And then I'm sure we're going to talk about these things more as we move forward. 19. Composition Element: Depth: Okay, So we've moved along here. We've got the rule of thirds. We talked about symmetry, leading lines and then cropping. Or the next thing is depth. So we're talking about middle ground, foreground background. And you know, in a landscape or something, that's, you know, it's very relevant. Obviously, if we're dealing with a portrait, Let's say we've got our frame here. And we have a shoulders, you know, the head of a figure, and so on. Okay, So we're not really dealing with that sort of thing. A still life. Sometimes we'll have that, oftentimes it will, but the depth isn't as much as like a landscape. So in a four, in a still life, maybe our foreground is here. So we have our table top or whatever it may be. And there's a tablecloth. And then the middle ground would be maybe this, I don't know, could be a little tea kettle or a little picture with a coffee cup and maybe some little blueberries or something, right? So the background obviously would be back in here. So those are your three areas. But again, we have to consider them. So if you want to put more background in, for example, the only way to really do that is to make your picture, your coffee cup in your little berries smaller. Now you've got this massive background. If you wanted to make it smaller, if you want to make your background less than obviously your tea kettle, whatever, your cup, and all your berries get much bigger now becomes a close-up shot. So this sort of seen here, you sort of get this wide lens, kind of a wide shot, you know, where you're getting a massive amount of space. Here. You're sort of getting a normal, you know, or, you know, a comfortable amount. So you're sort of a 0 in on the subject where this shot here will be sort of more about the entire thing. So you may need on a chair over here, a window over here, something to fill in the voids. And here it's like a close up. It's like a portrait of the scene. Now again, I'm talking about a still life there. So whenever we do a landscape, and I take this, do this one here. So if I were to trace around this real quick here. So we've got our house here. We've got our tree, little building or whatever that is, pathway bench, if we decide to put that in there. Distant land. Okay? Now I'm going to draw a square around this or a rectangle. So, and a scene such as this one, this one's comfortably crops. So I would say this is no, It's got some background. It's got some middle ground of the house and the trees. And then we've got a good foreground of the water and then mainly the path that's taken us n. Now, let's say I want more this, uh, you're looking at an image and there's more to it though, right? So we've got a lot more background that's showing then what is in the image. So let's say I extend this out here. I've got the edge of the house. The maybe these bushes extend out. We got other stuff going on. It's pathway comes down much more. So we start getting this. Let me get rid of that crazy line. And now our edges get bigger. Okay, so are taken on much more of the scene. And what I will do is get rid of this, this, this, this. And now you'll start to see like what, how that changes. So now we're getting much more background. The middle ground, all of this house and all this stuff is much smaller now. All that scaled much smaller. Now I've got my figures that were like over in here, but now we've got all of this foreground that's extended. So if my, if my y is kinda of these figures, this pathway coming in with some figures walking in the scene, then this may be a poor way to crop it like I have now because I have all this unnecessary space that I don't need. It's not really helping me showcase these figures that I want walking up to this house or a restaurant or whatever it may be. So anyway, this sort of comes down to how things are cropped. And we wanna make sure that when, whenever we, we crop things and whenever we are considering rather the depth of field, like how much middle ground, foreground and all that stuff we want. Then we have to only put in what we think we need. Because if you start putting in too much background, too much foreground and so on, then yet the US has an impact that has a direct relationship with your focal point. But just know that the more background, middle ground and foreground you put in, in general, the more of this sort of aerial wide landscape scene. So if your goal is to show the beauty of the mountains, this sort of rural scene with farms and kind of fields. And you want to showcase like this beautiful view of the landscape that, that would make sense. But if in that landscape, there's a red barn with some silos and maybe there's a little truck with some figures, then you need to crop and think about how much of that landscape, background, middle ground, foreground that you want to show. So whenever you choose your depth, okay, how much of the middle ground, background and foreground you choose. That should be in relationship to the focal point, the Y. And it should be done in a way that is strategic and you're able to get your point across, okay. 20. Composition Element: Arrangement: Our, now let's look at arrangement of shapes. So this is the last one. And arrangement of shapes can be a little bit complex. But the idea here is that we want an interesting collection of different size shapes. So I talked about that a little bit and symmetry where we know we didn't want all of our shapes to be the same size, right? But when we talk about arrangement, you know, it's like we want this group of shapes that are, so we have like typically if we can have one large, so a really large shape in there, then that works good. You may have like two medium, but we don't want the medium to be the same. So we want them maybe to be slightly different obviously and shape. So we don't want them to both be cubes. So maybe one, this sort of shape now and then once, you know, this sort of shape but in mass, right? So if we were to shade it in and give it some volume and mass, they're about the same shape, so it knows some medium shapes. And then lastly, we want some small shapes, so we need some small and then maybe even some extra small. All right. Now here's the thing though. Shapes can oftentimes be a combination of two things. So I mean by that is, let's say for example, we have our tree back here and let me do this. And blue, I'm going to go around the edge and blue. So we have our tree, but when we squint down and sort of we squint what it does. It reduces the amount of values you can see, and it tends to merge things that are similar in value together. So, but take my blue around the roof, around all of this, and even into this window down here, down here. And really, I'm going to make it a different value, but we could almost include this walkway. But I'm not, I'm want to sort of go around it like this. So basically what I've done is I've included the roof because it's a similar value to the tree. So having said this is one big shape, right? And then maybe I have another shape which is like this side of the house. So the house comes down and this say, Hey, maybe a joins, right? Maybe, maybe that house and value is going to be a similar value as our main walkway here. So they may be slightly different colors. But let's just say hypothetically here that this shape, these shapes join each other and value through value like that. And then maybe we have another shape of this distant walk walkway that's kinda includes this how spec here includes all of this stuff over here. So if I take that and sort of shaded in, and then of course we had the shape of the sky. I'm going to do this in white. So that's a really large shape sauce kinda take and just do it real quick here. And I'm just giving each mass a color. General color doesn't mean it's the right value or anything. So we've got this value here underneath the house is sort of walkway. And we could kind of trickle that in here. And then we've got the water. So the water could be this sort of shape that comes down in here, right? And that's the bulk of it. So that is kinda how I see my subjects see them in these shapes. Sometimes the shapes are sort of stiff and they're not, you can't really join them through value other times you can. So when I'm looking at shapes, they don't often again, have to be the same object. So objects can become merged with other objects through value. And no, this is probably a complex thing, but again, I have to put these things on the table now. And then as we move forward, these things are going to start to make sense and we're going to talk about them a little bit more. Now in order to see this more clearly here, let me get to a gray here. I'll pick a gray that's about like this. Now I'll make my brush a lot bigger and I'll sorta kinda gray in around the edge here. Just so we turn the image off, you'll be able to see hopefully the shapes a little more clearly. So so that's what we have. So this is sort of an arrangement of shapes. Now does this have every single detail on they include know. But what it does is it helps me see how the shapes and values are going to be kinda string together here, right? How they're going to look. Once I add color. And we know it's important to see like this, and it's important to know that this thing exists because how your design is impacted through the arrangement of shapes. And sometimes you'll end up with shapes that are all the same size. Sometimes you'll have shapes and compositions that are too many small shapes and things get too cluttered and busy. And if that's the case, things like that can work. But you may have to make changes to your design and composition. But now let's say, all right, well that's cool, but I thought they're going to be some figures and different things in this piece and that, you're right. So once I add the figure, so maybe I would do a smaller figure back in here. Maybe there's a partner there, they're walking together. Maybe, you know, there's this larger figure sort of coming in the foreground here. I made that figure too big. So here is the sort of head level of that figure shoulders. So making sure it comes away from the edge of the page comfortably enough where it looks okay, so maybe I've got that bench over in here, that sort of thing. Now I'm getting a better arrangement of shapes and a better collection of shapes because getting the smaller shapes now and of course we have our Windows, different things that will sort of add to the shapes. All right? No, Again, this is a very complex thing. If it's new to you, you're probably scratching your head saying this is way over me, But but it's not again at first it's going to be taking a step back and go on low. But over time, and as we move through this course, we're going to tackle these things over and over again. And you're going to see, you know, hopefully it'll start to make sense and you're going to see how important they are and then how you can easily apply it to your artwork. But again, the arrangement of shapes, how do they fit inside the edge, the canvas, so the top, bottom, right, and left sides. And we want those shapes to be comfortably and they're spaced. And those things are important, okay? Those, those things have to be considered when you do it because whenever you start looking at the arrangement of shapes is also going to bring out problems like symmetry is going to bring out, oh, well these are the same size. These are the, you know, there's too many big shapes or there is not a big shape, there's too many small and so on. So it's going to help you eliminate problems for your design and composition, okay? 21. Composition In Action: Walkway : Okay, Let's look at this 1 first. Down here on the bottom left, I have a reminder about some of these guidelines and again, their guidelines, okay, they're there to really help you with not making silly mistakes. Not so much as know you've gotta do this. They want to, you want them to make sure that, you know, you don't do the things that are going to rule in the painting. So as soon as you start to paint it, you get into it, you get an hour invested in. And then you realize, you know, you get some of these issues with your design that you never really talked about or consider. The first one I'll go over actually, what I'll do is I'll remove the grid. And so this is my design. I drew this off camera because I didn't really want to take up a ton of your time. But basically, if you remember right, we've got the focal point, which are these sort of figures, you know, walking along the path right in here. So when we look at the location of that, no, it's not dead center has close to center. I had to consider it and think about it, but I think we're far enough off center where they're not in a bad position. And when we turn on the grid here, you'll notice that I think we've got a good, good arrangement here in terms of our spacing. So, you know, the thing about this is, you know, you could argue that no, this this top well, let me put that back where it was. We could argue that this top one could easily be moved like for example, let me see if I can select it here. There we go. I can bring this. Mean that could maybe come down here, that could go up. But what you do is you sort of just split the difference between things have been not going to line up perfectly every time like this could go to the horizon back there. In that case, you would have top and bottom here, top to bottom, almost three even grids and that's okay. I know there were three even grids. It's not a big deal because what you're again trying to do is use this grid is a way of making sure you don't have too much symmetry in the design. And all I have to do really is turn that off. And I think he can see there that there's not any symmetry going on. There are different sizes, shapes, it's arranged nicely and all that stuff. So again, there are times when this grid will make more sense and it'll be a little more clear like where they are. But basically, if I take this grid and lined up down here, the bottom of the house, which is kinda where I had it, then we would have a good a really good arrangement there of shapes. So if I were to go top, go across the top here, this would be the small. This would be the large and this would be the medium. This would be the medium. I'm going top to bottom now, this would be the large and this would be the small. So again, I think is divided nicely there. And so I think we're good to go in terms of the overall rule of thirds. I think we've got a good support there. I think for symmetry, There's not much there. Everything is asymmetrical, pretty much leading lines. So we clearly have a path that's taken us into the picture. Cropping. There's nothing that's uncomfortable about the cropping. So everything is sort of spaced out nicely. Everything has room and so on. Depth and foreground, I feel like a crop enough of that foreground background out. So if we look at the image over here on the left, we've got more background. You can see more of this, but since I wanted the and we have more foreground to and the image, the photograph over here, I'm gonna allow that. I cropped out. I made the house a little bigger because I thought that is really all I need. I need all that excess. And if I put a larger foreground in the air and more of the background, the figures would be too small. You know, there would be little. There'll be about a third of the size or half maybe I maybe two-thirds of the size they are now and I think again, I had to think about my point of interests, my y, what am I trying to show here? So again, I tried to think about depth in a way that supported that to the best of my ability. I feel like I've got it pretty good. Arrangement of shapes. I think everything's arranged really well. I think you get your house. So if we look at this big house here in the middle and I'm going to go over a little bit harder here with a dark line. We've got this shape, sort of dawn this coming down. So that's a really nice looking shape. It's not centered, so we have less space to the left. So if we look over here on the left-hand side where I'm drawing a dark line, there is less space here and then more space from the edge of the house here to the right of the frame over here. Okay. So it's not dead center. Then we also have this house here that is going to give us a little bit of more weight. In terms of the house, the structures that kinda favors the right-hand side over here. So all that's arrange pretty well. Fill the pathway is is in there nicely. Uh, so have some issues to work out about how would attack? Will this railing over here? Do I want to make it white? Don't want to make it dark. I've got a little boat back in here. I think that's okay. I may or may not do that, but it really isn't necessary. So I may just sort of downplay that a little bit. And of course, I could always take my eraser out right now and it may be even make it smaller, you know, so just like the literal, literal, someone back there with a few masks, just to say what it is. There's tree is a nice shape there That's sorted joins, right? In terms of design and composition that joins these two structure. So that tree hanging over all of this and there could be a series of trees. Air joins the two, the house on the left and the little structure on the right. So that has an interesting role there. And it was already built in. It's not like I invented it. I'm just sort of gone over some of these things and giving you more ideas to think about in your design. Now I haven't really thought about lightened shadow yet. I'm going to get into that. Once we get into values, then we need to really think a little bit more about our light. But I think for my idea, I'll put the light on the top left-hand side for now. And then again, I'll see how that plays out in terms of value. So again, that's just gone over all of the six things that are important to me. And I feel like they were on our way to creating a really good design and create, and hopefully some awesome watercolor art. 22. Composition In Action; Yellow Umbrellas: All right, Let's have a look at this one. And again, I did the design and the drawing off camera because I think the most important part is really the why behind everything. Now, only why I'm painting this piece, but why I'm using the design and the way that I am. So that's sort of go over that. I'm going to make my inspiration image a little bit smaller here. So we can show you the reminder down here, the rule of thirds symmetry, leading lines, cropping, depth, and arrangement of shapes. And again, I've got my grid up here, could argue that some of these lines are accurate, are they not accurate? But let's sort of start there though. And I'm going to take this line and just sort of move it up. And here split the difference between, you know, that the different tops because we had this sort of angular top, so we're not dealing with something that's flat. So I'm going to split the difference there. Kinda put in that area. And then on this bottom one, again, I'll split the difference between the top of the umbrellas. But you could argue that this can go here, the bottom of the umbrella, as it can go towards the bottom of the building. I can go anywhere in here. But I'll just say the bottom of the umbrellas for example. And for the most part, I think we're all k. There's, again, I think we have more space on the right. So let me get here. And let's see. I'll kind of show you. So we have from right to left, there is more space. I'm right over in here on this side of the drawing. So more space from here to here than we do from here to here. If it were even maybe I would consider pulling the building and a little bit, just making sure that maybe one side has more space than the other. So I think out of 10 a voice because it's such a big shape. I don't think I would've want even space left to right. But I think again, we're safe. And we've got this point of interests down here in the lower left-hand side, right in here. So it's not, again dead center or anything like that. It favors this lower left-hand side. So right in here, leading lines, you can really just use the perspective alone. So like this, something like this. But what I did, because I have a figure crossing this cross-walk. So i'm I have some white lines like a street crossing sign or are lane and here you'll have account. It'll be very, very laid down is not going to be much to it, but I thought that gave the viewer a little bit better way into the piece. And then as far as cropping, I don't think anything is close enough to the edge or uncomfortably crops. So again, we've got plenty of blue up here, let's say at this corner that would be an area where you can easily crop that too close. We've got plenty of space here where this last umbrella will be. And here, plenty of space left to right on this figure. And again, nothing is comfortable about this. So I think we're good to go there. I think in terms of the depth, I think we've got just enough sky, just enough foreground there to enhance the focal point here really show the umbrellas about thinking hat. I had more foreground and more sky. Obviously the building would be smaller, the umbrellas will be smaller. And we may lose that sort of impact. But I think we're got the right depth going on there. Arrangement of shapes. We've got this really large building. We've got these kind of smaller shapes of the umbrellas, which are really almost be one shape. And then we've got Nissim small shapes for the figures and the Probably loosely paint some figure sitting on a VM umbrella, maybe indicate a few chairs, but not too much. But I'm going to downplay all these windows in the building because I don't think I really need them, so they'll be some of them will be there, but I'm not going do all of them. So anyway, I think everything is set up. I think this one's while own swayed to be a really good design. And I think I could go ahead and move to the next stage, which would be of course value. 23. Composition In Action; Tea Kettle: All right, our lovely little tea kettle here. So I'm going to take off this grid for a second. So there is a good look at my design. I'm going to go with a square layout. And if I turn that grid back on, hopefully you'll see that we have I kind of use the kettle as my main guides here. But again, you can see the kettle is not dead center. Bump it to the right, so we have room for the little lemon wedges there, but we've gotten medium, large, small going across the top and then we have medium, large, small, top to bottom. Again, I think symmetry. We don't really have that here. So there's nothing really that's going to compete in terms of size and equality and things like that. Leading lines on a still life like this. It's really hard to get a leading line. And I could do like a little plaid or striped, like a tablecloth or something. But I think for this one, once I get into the lightened shadow, things start adding value. I'll probably pool and you'll cache shadow, kinda slight angle towards the viewer here and use that as our little kind of lead in and as bottom left-hand corner. But again, you could do different things if you didn't have that, you could put, maybe it's sitting on, you know, some sort of tablecloth or a napkin or small tablecloth. And it's sort of, you know, you've got this going on. And then those kinda corner would sort of pull you in. But again, I don't think we're going to have that problem with this one. Landscapes are tend to be a little more challenging like that in terms of making sure you have a leader. But I think with this one just a cache shadow. Once we get to that stage, should do the job cropping nothing's uncomfortably placed and towards an edge. Everything sort of overlaps nicely as well. So we don't have that problem. Notice how I'm going to remove this grid and notice how the, the lemon slices here are overlapping comfortably, okay, they're not near the edge of that and they overlap each other comfortably to k. So we've got a nice tangents going on there. So even our little spout Here comes up nicely, kinda own its own. And again, everything feels good. Got the table top down here. So it's not dead center right here. Which would kinda throw it off because then he would have symmetry. So again, a cropping, I think we're good to go. Depth is good. I don't think we need any more or less space around it to showcase what I wanted to show. And I think arrangement of shapes is fine. So we've got the large shape of the kettle and that large shape of the kettle. Know we have some new medium shapes going on with the lid, all that. You know, the handle, which might play a key role in this. We've got, you know, the spout which is kind of it's own thing, a little black tip here. And then we had the small lemon wedges. And the lemon wedges will sort of have some small shapes built into that. So I think we're good to go. I think we've got a nice arrangement of shapes and this one's probably ready for the next level, which would be values. 24. Composition In Action; Cool Car: So here's an example of something that didn't quite make it through the design stage. Now worked with some different ideas on how to use the car and some sort of scheme. But in order to really highlight the car and needs to be big enough to make an impact. When you do that, it sort of becomes a little bit of a distraction for me in order to really make it into a strong composition. And that's sort of what like life the car lot. But I just don't know if this stage, I don't have enough. There can't find a good composition that would make sense. Maybe the thing that makes sense is just to do a portrait of the car and don't worry about trying to fit it into a landscape scene or something like that. So when you think about a portrait really ambitious, maybe a rectangle or a square. And then just sort of plot the car in there and say, Hey, that, that's, that's it, right? And this kinda make it about that. So you just sort of give it an interesting, try to paint it in an interesting way and then call it a day. So you're just going to put some sort of value behind it and then maybe a little bit lighter on the ground, give it a cool cast shadow. And then just try to paint the car by itself without all the extra stuff. So and that's really my solution here. I tried again to work it into a landscape. I just don't know if it would really work is not appealing to me. And I'm not excited about it. You know, I don't feel that connection and that enthusiasm to do it. And I have other pieces that are more intriguing. And again, maybe just go in and paint in the car by itself and having fun with it. Even an acrylic or some collage or a different medium might be a better solution. So this is one of those examples where you get it into the design stage. I tried to tweak it a little bit, come up with something fun and that would work and just stock quite connecting with me for this, for this landscape or for even for the class, or for just the painting in general. So for now, I'm going to draw it back and pont and just go onto the next one. 25. Composition In Action; Dock & Boats: With this one, we kinda go, as I'm talking here, I'll sort of fill this stuff back in. All right. So we've got the peer. So the Pier was designed as a lead in and it sort of has a nice built into it. So what I did is a work from what was there. So, and I gave it a little bit of a height over in here. So this will be this like a little hook or something hanging off the pier. So when they were they get back and they can unload the boat and all that stuff. So I'm going to use that idea and clean all this up. I'm talking to you actually sort of messy. I wanna make sure you see what's going on. So let's say again, we've got the big picture here. So we've got the peer coming in like this. I added this house and here select the little crab shack or something just to give it some height. And then we've got the pylons. Different things happen in here. We've sort of had these cross braces that are doing that. I'm not, obviously, I'm not going to paint all of those things, but I'll do some of them to get the point across. And then and got this land. We've got the distant hills there and then we've got our boots. So we've got our boats situated right in here. Maybe we'll do a couple of them. So maybe one gotta make sure there's boats are one is Elise big enough. So I'm going to scale it up and move it closer to us that it's substantial. And then the other one can be a little bit smaller, and then maybe even a third one back in here. Again, we have that sort of distant land back in there. So yeah, we've we've got everything covered here. I'm going to turn that grid back on and I'm going to adjust these rural quick. So we've got this one we can say is maybe even with that, how US, we've got this one. Maybe we can just stop that one right there, even with the pier. Again, these things are subjective to there. They're very flexible. You know, we, we can sort of move these around in different places and break them on different things. So maybe the end of the pier there. But again, they're designed to make sure that you're not doing silly things, as we talked about before, like plopping your subject right in the middle and things of that nature. All right, so I'll put a kind of a hard outline around this. So let me try that again. There we go. So I've got my shift key pressed down here and that's allowing me to draw a straight line. So I think for the most part, and then we have our grid setup, right? You can see going across bottom, left to right here we've got large, medium, small. And then here we've got some equality going on, on those. So we've got. A little bit of, you know, top and bottom match right? Butt. And that's where you can say, okay, well, maybe we could argue that this top one here, that's C, CPEC and find it There we go. That this top one, we can even move up here. So where that land line is, in that case, then I think I think we would be okay, wouldn't we we would have that small c. Now we've got those two that are close to the same, don't we? So then maybe it's good. It's good for me and you to see this because now you've seen how I worked through the problem. Now let me get my pen brush tool back. So if I were to say break the land down in here, and all of this is going to merge and join each other through values later on. So that'll sort of kinda what do you some good old watercolor looseness there. And then we can take this one and pull it down. Can't wait. We can say, let me find here that one. And we can pull it down here. Now we've got, or another option is we could push it back up. So we could take that. I made like that even better. So if I were to draw over that now and kinda pull that down in here, right? And then all of this would be that sort of mud. And then we would have that cache shadow. And here, so I kinda like that better. So we'll use this as our line. That way we have small, medium, large, so we've got that going on. So I think all of this is starting to work good. We've, again, we've got our peer, we've got the pylons, we've got these cross braces, all these things that will put in later on. We've got these smaller shapes of light, these bales or lobster traps or something going on. So maybe adding one here just for the sake of having a smaller shape, their medium-size shape will be good. We've got our boats getting into our smaller shapes here. They'll have like little dots and different things on, on mass senior that'll give us that feeling of small shapes, right? So I think something like that, I'll work good. So let me get rid of this grid. So you start to see it. As far as symmetry, there's really nothing there that so uncomfortable or look that looks the same. Leading lines. I think we've got a couple of them. We got this sort of land over in here. We've got the peer that's taken us in. We've got good cropping. Nothing is uncomfortable here. We've got a good depth to showcase the boots and a good arrangement of shapes and know everything kinda looks interesting nothing. Those two shapes are really the same size for the most part. And so I think this one's well on his way. I think, you know, it's kinda ready to get to that next stage where we can start to think a little bit more about values and getting things kinda nailed down. But I think we're good to go. 26. Composition In Action; Lone Boat: Okay, so we've got this one here and you can see the grid over top. So with the grid, I place this top line here, the top of the house. I got the bottom grid here roughly about where the land line will be, what psi I can remove that just so you see what I mean, you'll see a little line going across as sort of like the bottom of the house, the main ground plane that will be there, The right here, vertically, the edge of the house. And then this while on the left-hand side, a sort of went with the side of the boat, the wheelhouse here, and then on up to these tree lines that are sort of go in and out around that line. And I think we're good to go. I don't think we're going to have any issues here. So we've got across the top, medium large, small. Here, we've got medium, large, small. So now let me remove that grid and we'll look at some other things and symmetry, not there. So we got a good arrangement of things. It's off center, the Bostock plop in the middle and all this silly stuff. We've got a leading line which will really be like maybe I'm thinking like this cast shadow and then maybe we'll do another little shadow coming across something kind of interesting like that. So something off off the page there that sort of taken us in. Kinda like, so we kinda see this shadow will loot to this shadow. So I've got my light source, which will be coming from the top-left gamma figures there. So all that's good. So I'll sort that, that'll be a good lead in for us. Cropping is fine, nothing is uncomfortable there. The depth, foreground, middle ground, all that stuff. I think it's that's just enough depth where the boat looks good. It's clearly the star, I think if we had more foreground and background and depth there, it will be so small that it wouldn't be significant enough. And then arrangement of shapes is great. I love the arrangement of shapes. You can see I made a lot of changes. I just took the boat and and went with it, that that was the star. And then what I did is I looked around everything else and I was like, oh, like that house over there, right. But turned it. So I turned it in a way that is the front of the house is here just gave us a really clean shape. Maybe I'll put like a little there. This will be like a light blue and I'll do a window there where you can kind of see through the blue, the blue through the window. So and just kinda took the idea of some trees. So I kinda looked around and what was there. And then I turned things and bold of them to wear off feel. And it will give me a good composition, interesting series of shapes and something that would be fun to paint. The bottom of the house is right along in here. Put a few verticals, maybe some polls are different things because sort of see that in the image over here, like a little fence or some sort of chain fence there. But, you know, adding a few figures is what I wanted. So I wanted the boat there with maybe a ladder. Some figures here talking about what they wanna do, what they want to have for lunch or whatever. And I think we're we're solid man. I think that's a really cool, I'm excited about this one. And that's the cool thing about design and composition. You sort of get that y. And then you start building the story and the shapes and things around it. And it really starts to make it personal and asserts to give you, really gets the juices flowing. And now you're like, yeah, Now this is really starting to pop and makes sense to me. I'm getting excited. I can't wait to paint it, you know. But we got to slow the roll down a little bit. And we have to think about values and how they're going to be, and how color is going to kinda mingle with value. So we've got a few more steps to take, but I'm super excited about this one. 27. Composition In Action;'L' Shapes Boats: All right, This was a lovely L-shape, y and the boats sort of sitting there making that L-shape is what I was after. Let's look at this grid. So the grid, if we went across the top here, they're almost even aren't they? I mean, this one could be a little bit larger. Then we have two medium but you know, that's fine. A SOC 1 or hurt anything because everything else is in great shape. So across the top here we got small, large, medium. And again, we could argue that those lines could needed move up and down. Okay. But for me as long as something is breaking on that line or lined up with it in a general sense, I think I'm fine. Again, it's more about making sure I don't make silly mistakes than it is anything else. So rule of thirds is good to go. I'll pop that off. We've got no symmetry there to speak of. So nothing's really too much in the same. Maybe all looking at this, I could make this house and here and then maybe take this house, so a little bit taller, low chimney there. And then sort of bring that, push that in the background. You know, there'll be very loosely paint it anyway, and then pull this house over here and we're good. So just making sure things are the different size. They're not like all even and all that silly stuff. So yeah, I think we're good to go here and leading lines, we get the boats that are pooling you right into this image and then taking you right along that trip. So we're good to go there. Nothing is cropped up, cropped, uncomfortable. I got plenty of space here. I've got the house as kinda moving off here. Nothing's uncomfortable. Plenty of space on the boats, plenty of space on the boats. So nothing is weird. Depth is fine. There's not too much background foreground or anything. So we're, we're really, we've got it cropped in a way that it showcases, well, I want to showcase an arrangement of shapes is great. We've got big, medium, small shapes. And I think again, this one's ready to roll, ma'am, excited about this one too. 28. Composition In Action; Vertical Trees: All right, Let's go ahead and look at the rule of thirds first. So going across top, left to right, so we've got a small, medium, large. Here, we've got medium. And it looked like both of these are about the same size, which again, it's not going to hurt us. All right, not a big deal. So our sweet spot there, that beautiful why is right in here? So we're right in that bottom left-hand quadrant, you know, towards the middle. So that works great source avoiding that sweet spot in the middle. And that's where we want to be. Okay, there were, so we're in good shape here. When we look at symmetry, I think you will agree that no symmetry here, there's nothing here that is, are the same size. Nothing's in the middle. And when I get to these trees and you'll have, you know, kinda different shapes, you know. So we'll be sure that all of these are differently shaped. And no worries there a leading line is pretty obvious. We've got even the shadows at sort of pool UN, and it kinda take you here. We've got this lovely path along here as well, cropping as good. I think we've got our figures close enough to us in this middle ground where we get a little bit of foreground here and a figure to sort of help us come into the scene. We've got a nice scale so the figures aren't too small here. If there were too small, then it wouldn't make sense. You know, the whole thing would be thrown off. So I think we're good to go. And then on the depth again, we're good to go there. And it's for cropping to know that nothing is near the edge or uncomfortable. Only thing I would say maybe would be this tree right here on the edge. So maybe moving this one over a little bit like that, and then pulling this one maybe in here would be a good choice. So maybe kinda taken that out and then kinda getting this, maybe pull them that one in here, and we're good to go. So again, again, you know, design in this stage is for finding these potential problems and any sort of adjustments that need to be made. Wood can be done easily here with pencil on paper. But if you ignore it, then of course you're going to have yourself a hard time in the next phase because then your, your kind of, you can't do it once you wants the painting is started. You can make these changes so easy. So even as I look at this, I'm thinking I don't even need that. And I could probably take this and take off this space. And so that's what we're figuring out. You know, we're, we're finding these problems before they become a problem, right? And then when we get to paint that we don't have to guess about what's working and what isn't working because a lot of these things have been kind of sorted out. So arrangement of shapes is good. So we've got this lovely sort of group of trees moving along in here, rural, organic, kinda irregular. Then we've got these nice edges of buildings and structure back there. Maybe a little steeple or something like that on that one. Some figures, we've got a big mass of sidewalk that'll be broken up with the shadows. So it's not too much because the shadows will help break them up. We've got a large shape here of a large figure who gets a medium figures, got a few small figures. So golden man, this was absolutely golden. Ready, ready to roll to the next stage? 29. Composition In Action; Brown Building: Okay, This is one where we start to look at the rule of thirds is hard to really apply it, but, you know, just kinda get in here and moving things around a little bit. And again, if you don't have this sort of digital software, what you probably don't know, it's a harder to do, but still you use your eyes, you use your eyeball is a sort of mark out these landmarks and different things that are going on. But if I remove that grid for a second, piece looks nice and balanced. So there's really nothing there to worry about. But when I put this sort of grid over it and I'm trying to find some major landmarks. Again. It's, I could move them left to right and find different things in the structure and the image to put these over. So this is kinda one of those things where okay, it was not really lining up exactly. There's perspective to the ability, nothing's really flat. Everything is sort of in perspective from the viewers point of view, but it's still situated nicely. And you still want to go through this stuff because I'm just going to point out problems and here's what I'm talking about. So if I remove not that once I remove this one, bring it back up. So I wanted that one to line up with this corner of the building right in here. And then whenever I did that, notice how that corner of the building is also the corner of the car. So that's one of those situations where we want to try to avoid that. And so it's good. So sometimes working through a thing like this is going to help us pinpoint some things that we didn't know existed so far. Erase the corner of that car for a second. Now I erase all the car. And now what I will do is that this is the corner of that building I'm talking about. And then it flares out this way because see it on the image over here and it shoots out this way. Then it goes up to our little thing there. And then it sort of goes and that's the bottom of the building moving down this way. Okay. So that car I don't want that corner of the car to be lined up with this corner right here on this side. So I'm making that super dark so you understand where I'm at. So let's move that car over in here so that way is comfortable, right? Doesn't it's not competing with that corner. And again, we don't want those things to line up. I could even make it more of a back of a car. So a kind of dawn, maybe something like this, but the wheels like that and a little shadow underneath and I think something like that I'd be good, do some tail lights, you know, again shadow, shadow. And that'll be fun. So now we've kind of spotted a problem. They were able to fix it and turn that back on. And we don't have that weird tangent anymore where the corner of the car was lining up with the building. So that's good. So no symmetry to worry about here. Everything's asymmetrical leading lines. So we can kinda do this since the sun light source will be coming from over here. That was a terrible arrow. Over here. I've got little shadow coming down and we can do a little shadow coming across the foreground and an angle. And that sorta kinda leads us up into the image. So we're good to go. And of course, once we get to value, we sort of put this really dark value over all of that. And we have these kinda of light foreground, light sky, these kinda figures with light color shirts and stuff like that against it. It's really going to be, it's really going to catch your eye and it's going to enhance that focal point. Cropping is fine. There is nothing that is cropped since we fix the car, that is a problem. Nothing is close to a doorway or tangent or a corner that it looks awkward. Depth is good, so I don't need anymore or less foreground. So I think it's spaced, right? And arrangement of shapes is good. Nothing. We've got a good assortment. We got large shapes, medium shapes, small shapes. So we are, we're ready to roll man, right? Ready for some value. So we'll stop right here. 30. Composition In Action; Rural Scenery: All right, Next up we have our rural see where I added the sort of brown Cornfield sort of thing. It's not going to be anything growing in the field. We're going to think freshly plowed and we have some rows gone. And the seed is come in, or maybe it's planted and nothing is really happening. So we look at these grids and again, we could move these lines around, but I have the bottom and lined up with the bottom of the cornfield here. The top or the top of this house on the left. I'm also going to break this in the middle right here. I'm going to break the silo with the top of that and this is sort of accentuate it. And then back here there'll be like a distant, I'm going to add this like a distant mountain or something and like a light blue violet just to give it some color. And then in here I'm going to do a kind of a crop of trees or something behind this building. This is, say there's something closer. And here, I'm going to sort of break that right on that line as well. So you've got that. And then, you know this. And we can kinda see where things are getting cropped alone. Here we've got the front of the building on this side. And then here I'm just using the tree in the corner of the cornfield. And so again, we can slide these things around all day and come up with different ways to arrange this where it fits our need. But again, it is used as a guideline. Okay. So it's not like we have to sit there and pull our teeth and Nash our teeth to get this right. There is designed as one tool and sometimes you use it and you see how the other things line up or you use it and maybe what starts to kind of fit in to the grid of things. And then other times it'll be like, Well, I don't really see a really clean path through all of these things. So it's okay. It's not a big deal as long as everything else is lining up. Good. All right. So symmetry, no symmetry to speak of. I've got a short silo back here are tall silo. All of these homes are sort of buildings and structures are different sizes. This one's face in US. But really no problem with symmetry here. Leading lines or be kind of this cornfield and these rows, all these perspective lines of the rows. And I'll be a very subtle thing, but it'll be there, kind of bringing us in. I may run a shadow kind of across the field here. So light source may be coming from here, top right. But that there'll be enough to sort of pull us into the image and then we can sort of go from there. I think cropping as good and nothing is cropped on comfortably. So the house has plenty of distance here. This is running off the page comfortably enough where we can see a decent side of the barn. And then we've got a corner of a cornfield here running off that way. So yeah, we're we're good to go there. The depth is good. I want to show kind of a vast landscape in this one, but I don't think it's the distant homes back here and barns aren't pushed so far back where they're going to be lost or insignificant to the point where we don't wow, Bother, You know, I think this one here in front of us is close enough to where it is meaningful and we can sort of get a little more added it. And so I think we're fine arrangement of shapes is good. So we had this, we have allowed geometric shapes, but we got this sort of triangle or square in perspective here. We've got the sword triangle looking barn. We've got these other barns and perspective on different sort of angles. We've got an interesting tree here which is very lopsided on purpose, right? We've got one here that maybe is leaning slightly the other way just for variation, right? And who knows? Maybe we'll put another one back in there. But again, no problem with arrangement of shapes. Everything sort of has his spot and looks comfortable and I think we're good to go. 31. Composition In Action; Cast Shadows: All right, last up. We've got this one again. Let's look at our grid and picked up some like stem these a little bit bigger. So we kind of go across the picture. But yeah, I think we're good as far as spacing and where everything is lined up. So across the top here, we've got medium, large, small, small, large and really small. Okay, so don't panic. Okay, It's not like, Oh my gosh, I've got to smalls, not a big deal. You know, the main thing is you just wanna make sure you're not making major mistakes here. And the grid is one way to sort of do it because I could always take that C, can always take this one here and make that here. Or I could always take this bottom one and change it to where the bottom of the building is unlike, okay, now I got small, large, medium. But I think for the most part, those lines makes sense and it's not because everything else is lined up, this is not going to hurt us. I can clearly look at this and say, you know, this sort of grid isn't going to be a big deal, right? The main thing I wanna do here show these cast shadows from the trees coming across the road. And all these buildings are going to be in shadow. So this is sort of a play on light and dark values and which I want to talk about in the next stage. And we're good here. And then symmetry don't have to worry about that. The only symmetry that could be a problem here, if you weren't paying attention would be the distance. I'm gonna do this in blue from this tree to the edge and from this tree to the edge. But you can see this has more and this has less. So we're good. But if I had taken that tree and plot the array here, Let's say now you've got a problem because this is the same distance as the blood on the right. Now you're dealing with symmetry, so you would want to avoid that sort of thing. But again, we're good and that tree is placed right here for a reason because I didn't want to go too far to the right because then again, we would be in that ballpark, okay, Where we're dealing with symmetry. Again, the leading lines are good. It's going to be these awesome shadows Don very abstractly quickly and playfully pulling you into the painting. Then he can sort of get in there and follow things around and enjoy the peace cropping as good. Nothing is near the edge and where are so uncomfortable. So I think we're good to go there. Depth is good. I don't think we need any more or less of the foreground, so we've got a little curve right here. So this will all be kind of a sidewalk driveway and then we've got a kind of a grassy little thing. There is really dirt in the image on and making green grass when we get there, congress load paved driveway thing. So maybe you get like this will be tan, this will be Burgundy are red and this will be green. So we're good. I think we're fine with cropping. The depth is good. Arrangement of shapes is great. So pause, take a dark marker here, go around these shapes, you know, and toy with what's going on here. You'll see that everything is sort of a different size. We got our large shape, we've got medium shapes and they're, they're placed an interesting way, we had this sort of quiet space and here in the foreground, the only thing there will be that shadow, but it's still very quiet that once we started growing the trees and the branches and adding volume here and the figures, it's just quiet compared to everything else. So and the sky will be a very quiet. Yeah, I'm not I don't want to put a bunch of clouds and all that crap in the sky because then you're dealing with a busy sky. Now you're chopping this big space up in the sky. Some sort of tracing around that sky here. And it'll be too much. So you need this big open, these big open and quiet spaces. We need, we need this because you don't want everything to be busy. So that's, so everything I'm circling here will be sort of a quiet space. All of this in the sky, a quiet space. And then you'll have all these branches. That'll be, you know, breaking it up. So imagine putting a bunch of clouds in this thing and all that nonsense. Then you've got busy, busy, busy, busy, busy, busy busy, you know, to, to too much. Okay. So you know my y. So we get our figures and just the playfulness of the light and shadow, light against dark and these shadows, and that's the tree. The cache shadows of the tree is really a want what I want to pop. And I think we're going to be in good shape. So that's gonna do it for my design and compositions. Hopefully you have some good examples there and some good stuff to base your composition and designs on. I think, covered a lot of ground here. And taking this many compositions and duodenum is a lot of work, but I think you need the repetition and you need more as many examples as you can possibly get. Because so you know, things seek, seek in. They don't always sink in right away. So you have to sort of keep, keep pounding it, you know, empowerment. And they eventually you'll, you'll start to see here the rhythm and the sort of continuity of things, right? But anyway, so that's that. And in the next lesson, you will start to have your assignment and you're going to break into this beautiful design and composition world. 32. Composition Assignment: So we've come to a critical point in this class where we need to start the design and composition for some of you are wise. I've given you some good composition guidelines to think about. I've also shared with you 11 examples how I took my y and develop a good composition around it. And remember, composition. It may be a little bit confusing at first, but they're just guidelines. And the main thing is they help you not make those silly mistakes, okay? Use them to develop your y. Only choose one y. So you have several that you have created and the Y assignment. But don't pick every single one. Just pick out your favorite and then develop a design and composition around it. That's the goal. Then you're going to take that design and why to the next stage, which will be value, and then the next stage which will be color, and then create a final painting around that. Okay, Then when we are finished with the course, or if you have some spare time, you can always fall back and develop a design and composition around your otherwise. But again, for now, pick your favorite and go for it. Okay. 33. Value Introduction: Alright, so we're going to move into value and more specifically value hierarchy. So to explain that, I'm going to first have to go over value. I don't want to assume that you understand what I mean by this. So basically if I were to say, Hey, look at my square on the page, he would say, I don't see a square. And like, yeah, there it is. It's right over in here. And the top left-hand corner, you'll say, Well, I still don't see it. So in order for me to show you the square I have, I need to put some sort of value on it. Now I can either put value in the square. So I can take this gray, for example, which has a value to it, and add that to the inside of the square. So that's one way. The other way would be to put value around the square. So I could color or add value rather around a shape. Like so. All right, so now you can see my lovely white square thanks to the value that's around it. A third way I could use value is just to basically do an outline like this. Now that's very similar to the second version, but I'm using more of a line and not a mass of color around the shape. So this is value. So value is necessary to show any sort of shape or subject on a page. In general, when we talk about value. In art, how we're talking about the relative lightness and darkness. I'll say, and, or darkness of a color or whew. Okay? So anyway, I could, for example, go very light and value and still show you that square. Or I could go really dark and so on around certain parts and all that good stuff. So value is necessary, isn't it? It's important because without value them, we just have a blank white surface. Or we could just have a blank. Dark surface, all one value. So in order to again to show shapes, forms, anything on the page, then we have to have at least two values. But in art, we're going to have many more values than that. But in a nutshell, this is the gist of value and why it's important. And then the next stage and understanding value is to use it to represent lightened shadow. Okay, so when we look at lightened shadow, we're going to be talking about a hierarchy. So we're going to have to place a value in the correct area in order to show it. So in other words, if I take that square and I'll turn it into a cube. Okay, so we're going to put, put it in a more three-dimensional form here. And we'll put our light source coming from the top left, okay, so it's hitting the top of the cube first. And then we've got the side, and this side is going to be in shadow. So in terms of adding lightened shadow to our subject, I can say, all right, well, the top of the cube is the lightest and value somewhere, add a value that's lighter and it's going to be lighter than the other values. I'm going to add another value that's slightly darker than that to the side of the cube. And I'm going to add another shadow or another value, I should say, to the back of a cube. And the back of the queue is darker and should be because it's the furthest away from our light source. Okay, So again, the lightest coming down, hitting the top of the cube, Bailey. And then the side of the cube over here is receiving more light than the back of the cube. Now the cast shadow tends to be lighter. Then the vertical plane. So I'm going to talk about that a second. So for example, if you look at verticals and shadow, okay? If I'm talking about this plane right here, and I'm going to go around it a little bit darker, just to show with right there. Verticals and shadow tend to be the darkest. And then cast shadows tend to be lighter than the vertical. Now there are cases where maybe you're dealing with a White House or maybe the surface is very dark. The ground wherever it's on. In that case, maybe the cache shadow is darker. So when I'm giving you here is kind of a general model for value hierarchy, okay? And again, there may be cases where this general model isn't correct. But at least if you have a general model, then you go into the subject or go into a scene with something to compare it to. So that's why general models are good. So understanding that first of all, you need a hierarchy. You need to understand what is light. So in this case, the lightest value, the top, and the second lightest value in order would be the side. So you would have 12 and then three would actually be the cache shadow, and then four would be the darkest value. And that's going to be the back of the cubed. Okay? So that gives us, again, a good general model to compare things too. And when you're adding lightened shadow to a source, say the only way to really paint anything is to have some sort of light on it. So without light, then everything is going to be dark. You're not going to be able to see it. So light is the key to making objects look three-dimensional or making them appear in space. And then for the artists, we have to understand the hierarchy of things. And knowing that when we look at our subject and we want to put it down on the page or surface where we're trying to create this illusion of three dimensions on a two-dimensional surface. So everything we do really an art as kind of a lie because we're just trying to trick the viewer and thinking that the object is there. When in reality, all we're doing is just painting symbols of things, symbols of trees, symbols of houses, symbols of people, whatever, whatever our subject may be. It's all symbols. And we get our point across by drawing it and then adding value to it to give that illusion. Um, of it, it exists on this two-dimensional surface. So we can see value has a huge role in art. And if you don't have a value hierarchy, general model, okay? Then a lot of times what you do is you, you guess or you color match. So you look at a color in your subject and you just try to match it perfectly and you put it down on the page. And when you do this, generally there's no thought into the value of the color. So every color has a value to it. And you have to understand that. So if we look at this red or brownish square right here, and you were using this color for your subject, you would have to understand and C or C through the color to see the value of it. And if I grayscale that, there you go. So maybe you looked at that color and you're like, wow, that's kinda dark, but it's really a midtone, isn't it? So we can use a color like that if this were brown block, maybe for something like this. So it's kind of a mid-tone. And then if we were to need a lighter color, for example, we would go with something like this. And, and obviously if we needed a shadow color, we could go darker like this. And then if we needed some sort of shadow, would be would it go lighter and maybe use something like this? Okay. Doesn't mean they're perfect colors. But in terms of a hierarchy to convey a brownish block on a two-dimensional surface. This, these hues when it worked pretty good. So you can't always match color In your subject. Because if you do that, then a lot of times then you are ignoring its inherent value. And again, values are values Trump color. And you always have to consider the value of the color first. And if you put it down on the page, then everything, every other color you put down has to relate to that. Okay? And that is the gi