Painters Guide To Design And Composition - All You Need To Know In One Class | Robert Joyner | Skillshare

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Painters Guide To Design And Composition - All You Need To Know In One Class

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

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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

18 Lessons (2h 24m)
    • 1. Intro

    • 2. Element: Shape

    • 3. Element: Value

    • 4. Element: Color

    • 5. Element: Texture

    • 6. Principle: Contrast

    • 7. Principle: Dominance

    • 8. Principle: Variety

    • 9. Principle: Unity

    • 10. Patterns 101

    • 11. How To Handle Equality

    • 12. Design Within The Frame

    • 13. Lighting

    • 14. Point Of View

    • 15. Design Example

    • 16. Two Value Pattern Sketch

    • 17. Three Value Pattern Demo

    • 18. Final Pattern Demo With Watercolor

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About This Class

It’s imperative that an artist sees what it is they’re creating. This may sound odd but it’s not uncommon for artists to be completely blind to their work. The reason this happens is because they’re only focused on one element of the work that they don’t see the whole.

Who is this for?
The lessons shared in this course are suited for all levels. It's also perfect for any medium from oils to digital painting.

Module One: Simplifying Elements And Principles Of Design
This section covers all you need to know about the basics of design elements and principles. And you will learn how they translate to making quality art. It's important to establish a foundation before moving into more advanced ideas. If you lack these with design techniques in your work then it's pointless to even pick up a paintbrush.

Here are a few images from this section.



Module Two: In-Depth Look Into Practical Design Theory
Here you will learn how to incorporate pattern, equality, designing within the frame and a whole lot more. The lessons in this section will dramatically improve your artwork in ways you never knew existed. There's also several complete demonstrations that illustrate how certain elements were used in a painting. So, you will see these methods in action as a painting is completed from design to finish.



Here is the final demo in watercolor.


My Other SkillShare Drawing & Design/Composition Courses

Painters Guide To Design And Composition - All You Need To Know In One Class

Unlock The Power Of Interlocking Shapes - Intermediate Design & Composition Class

Improve Your Basic Drawing Skills With Easy & Fun Exercises

Linear Perspective Techniques - Learn To Create Depth On A Two-Dimensional Surface

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Robert Joyner

Making Art Fun


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1. Intro: before paint has the canvas, you should consider design and composition. Unfortunately, this is where many artists fail. They prefer to pay for hours and hours and then come to the realization that their composition just simply doesn't work but have new fear. In these lessons, I will simplify what can be a very complicated subject. I will go over the many common elements of design and composition and then show you how I use a lot of these elements in my expressive artwork. By the end of these lessons, he can rest assure that design and composition will no longer be a thorn in your heart. Look, if you have any questions about this course, feel free to get in touch. Thanks for watching, and I hope to see one the inside. 2. Element: Shape: the very first element we will cover is shape the two marks you can make or your paper campus would be a dot or line and that's it. So with the dot, you're simply taking your this could be a paintbrush. But in this case is a marker. But it doesn't really matter. He put it to the paper. You touch it, you lift off, the other option would be Take it, put it to the paper. You drag it across the surface and those are the two marks you could make. And the two most basic shapes, Really there are. And here I've demonstrated that with a brush with some lucane. I'm just saying you have another visual there. So you may say, Well, what about geometric shapes? And all the other idea has about creating things such as a tree. It doesn't matter. A circle can be considered to die. The shapes were made up of lines. That's it. Something a little more complex to see. Like a tree. Well, they're all made up of lives. All right, so in a very basic form, the two marks you mate and Onley can make would be a dot on the line. And with those, you could do some interesting things. Okay, Shapes can have an outline. So you see here and then they can have a Phil where you're placing a value inside a shape. All right, shapes can be convex. So think of a cloud where things are bulging outward and then things can be con cave. So they're basically moving and word. Okay, so if you're looking through a treaty or something a assiduous tree and seeing light, you would see these sort of shapes from the leaves and things like that. So keep that month so we'll get convex con keep moving outward, moving in emerge shapes can be combined and they can overlap. All right, so the rectangle is a firm, that circle we can overlap shapes. You can have what's called on open shape. You can see a shape. It started and then it stopped, and it's open at the bottom. Now you have was called a passed through or passage. She so in this example, I used the rectangle in the circle. Now I combine them for one Chief. Okay, so if I were to shave that when I it would look something like that. Okay, now the two kinds of shapes you want to think about our static sheep and dynamic shapes. There are two types of dynamic shapes, but this silicate static shape first, a static sheep that simply a shape that doesn't go anywhere or is considered like a debt shape. All right, so I got on the line. That is a static shape. The line can be vertical is well, but when you go straight up and down across very flat or got, they're consider static shapes, and that's because they simply don't have any a lot of movement. These could be considered a static shapes as well. So square. Find the center. Everything is equal around it, so it doesn't have ah pool in any direction. Same can, except for a circle triangle and things like that. So static shapes flatline dead. You can have a slew, she a curve so we can do slow. Ask her are figure eight. Or that's where shape these are considered slows dynamic shapes. All right, so they move slow, very gradual. That's whether considered solution. The next thing is, we have a fast dynamic shapes, so with fast, dynamic sheets, they're very angular, and there tend to be very quick in their movements. So I have a few shapes here. Say, this could be a mountain. All right, can fill that mountain. And we have these angle is going on. So the movement here, the say in this line will it goes quickly that way much quicker than that. This one goes up. She's across. She was now. Okay, so you kind of get the point. Mountain went up, It goes down, it goes up, it goes down fast, dynamic shapes. The last thing I want me to see, and I think you need to know in terms of shape would be they have size. Small, medium, large, extra large and everything in between. And shapes can have a direction. So in this case, squaring a circle, Well, they don't have direction. Like I mentioned before. Everything is equal around them. A rectangle has direction. Okay, has movement horizontally. So moving you this way or that way, a tree has direction. All right. So if you find the optical center off leaves in here somewhere, and we draw a line across it and we have a narrow to the edges and Then we find the next big movement, which is this angle here. Okay, this is longer than this. So the dominant movement here would be in this direction, she would have that sort of direction to the tree. All right. So, again, to most basic chief, you make and you really can't do anything else other than that. But you can make things from them. With the adopter line we outline, we can fill shapes, bulge out. Sheaves, move inward. Okay. So, convex Konkey, we can overlap and combine shapes. This way we can have open shapes. We can have a passed through a passage shape where we have combined them and removed where they have a scene. We had two types of Maine shapes. We have a static shape, which is basically they don't move. Okay, then we have curvy, slow moving shapes, and these would be considered more of a dynamic shape. And we have the fast shoes. There's angular, quick movements. Lastly, again outside's. So I'll be largish large, everything in between. And then we have direction as far a sheep goes. That is all you need to know at this point, and we will revisit a lot of this as we move forward with our elements and design principles. 3. Element: Value: all right. The next element I want to talk about is value. So value is the relative lightness and darkness of a shape or object, whatever it is you're referring to, and it is directly connected to shape. So you can't believe separate value in shape. And what I mean by that is I told you there. If you were to say, show me a square. So there this, then there's no way for you to see that square because the square is white. Well, maybe the paper is white, too. All right. So in order for me to show you a square, I would have to change the value of the outline around that square, so that is very much considered value. All right. So again, you can't separate the two. You can't have shape without value. You can't have value without shape. The other things I want you to understand it is a sheep or value can be used to fill the shape so I can show you the square by filling it with a value. And then I can also show you the sheep by changing the value around. Okay? Again. Can't separate these two. So no she because there's no value here changing the value of the outline of the sheet. I have a square. I can fill my sheep with a value and show it to you. And then I can paint around it with a value and she shape OK now value is much more complex than that, and we use a lot more in our design process. But for now, that's all. I want you to know about that. 4. Element: Color: the next element I want to talk about is color. So three terms you can use for color would be Hugh. So in this case that Swatch is in the red family. This is a stroke of canyon red medium, and the tone is a mid tone. So if I worked used de saturate this okay and take all the color out of it, it will be a mid tone grey. So not very dark, not very light right in the middle. The chroma is high, and chroma refers to how pure the color is out of the two. So because I didn't mix this with any other color, the chroma is hot. We start to add a great to this. You're essentially lowering the chrome. So this is the same cue that makes a little bit of neutral tent with it. So in this case again, the chroma is lower than this. Now color is very complex. We can talk about primary secondary tertiary colors. There's combination combinations of colors, try as and different things. And the list just goes on. So for now, you just need to know that color is one of the elements of principles of design and the three main aspects of color would be the few toned and chroma. Okay, we'll talk about this in much more detail in a future tutorial. 5. Element: Texture: the next element I want to discuss is texture. There are three types of texture we will use with painting, and that is hard, rough and soft. Okay, hard texture refers to the outside edge, which is very hard. Okay, This is also considered a smooth texture because the line messages are very suit, all right. And a smooth if he compared to the rough. So a rough texture, as you can see, is very choppy. And I did this with watercolor, but the medium is irrelevant. You could do this with acrylic. You can do this with oil. Whatever. Okay, so we have a rough texture, and then you have ah, soft texture. So if you look at the edges of this one compared to the hard line or the hard edge texture , then this is very soft. So I laid the watercolor down, I took clean water, and I simply smooth it out. Okay. Creating a very, very salty edge. And we compare that to the hard edge. Well, it starts to make sense. All right, now there are, you know, thousands and thousands of textures and the objects we paint. OK, but if you let's say if you were painting rocks? Well, hard edges would make sense. When you pick up a rock, they have part edges. All right. Like a soft edge you could think of, like, you know, ah, stuffed animal. So very soft texture. And so you would probably want to indicate that with maybe some soft edges. Okay, so in a nut show, this is texture. It's one of the the last of the four elements here that I will share with you. And again, we're gonna talk about this a lot more in future lessons and tutorials. But for now, they're that texture is one of the elements. 6. Principle: Contrast: Now how you arrange you're elements in your artwork is considered the principles of design . So the first principle we will talk about his contrast contrast can be created with value. So basically putting a light against the dark, this is probably the most widely used and the most valuable, and we'll talk about that near the end. The next way we can show a contrast is through shape. So I put some rectangles and squares together. Okay, they're the dominant sheep. Toss in a circle. Well, that is contrast through shape. Same can be said for these straight and for horizontal and vertical lines. Throw in a soft line or a slow moving line occur. Do you have contrast? Color is the next one, so the complement of red is green. Therefore, we have a contrast in color. Lastly, would be the texture. Texture can be done through the safe, creating up smooth shape and, uh, or dis considered, I guess, a heart shaped in a rough shape. All right, so you have contrast in texture now, in terms of importance, I probably should have flipped these two number one his value. So the human eye we'll go to this first. That's why value is so important in your artwork. The second thing is color so that I will see this next. In terms of contrast, in terms of what color is there, thirdly is shape the I will pick up on this sort of thing at their it absorbs thes okay, if they're present in the artwork and then lastly is texture. And that's why texture really isn't as important as the others. But of course, you can certainly indicate texture in your work. And I don't think I've ever created a painting that didn't have some sort of variation and texture. But again, importance is right here. Value, color, she texture. All right, now, that is the first principle in your design. Okay, now we'll move on to the next 7. Principle: Dominance: the next principal. I want to discuss his dominance, and he could have this in a variety of ways. But the first I will talk about is contrast. So here we have equal white and equal dark. So no dominance these air 50 50 and there's a battle going on. Okay, You could also have lack of dominance by having a lack of a dominant color. So again red and green of equal value with a battle going on. Okay, same could be sad through shapes. So if you have equal the safe, horizontal and circle shapes going on, then again there's a lack of dominance. So if we look at example to, I would just cover this after we get a better look at it, you can see now there's a light in the dark, but the light is much bigger. Dominance is present, and that's what you want. Same can be said for the green and the red because the green is dominant. Now there's more green than red. There's now a dominant Hugh. In this example. The circles have become much bigger. There are only two horizontal is now, so the circle has become dominant. So in terms of shape, the circles went out again. Dominance is important for your designs and something you want to consider when you're constructing your artwork. 8. Principle: Variety: the next principal I want to talk about is variety. An example. One. As you can see, I have a Siris of marks all about the same size. And of course, in terms of variety is very boring. Okay, better approach would be to change. The size is so small. Have a big of a small have a big But even when you change things, it's easy to become boring. Okay, it's easy to repeat this over and over and over again. Okay, so I get I have this example, which is little big medium. All right. So any time you can have three variations of a size like this versus two, it's much better. All right. So always keep this in mind when you're designing, and you can discover these things very early on. If you do thumbnail sketches and things like that. Okay, the next thing I will talk about is variation of shapes. OK, so this would be size. Now, this is more about shapes. So having a very long, thin rectangle versus a taller Why rectangle Now I have a curve in there. Ok, now that becomes more interesting to then something like this. So we can create variety through size right here through shape. Another way we can do it is through color. Now, this is just a simple gradation pattern, you know, dark to light. But, you know, if you're dealing with shapes and you know different things like that, just know that you can always change colors of things to create variety as well. And this is something that really is a common problem. I see this a lot. See, in my work, I have to be careful of it, because when you're painting, it's easy to kind of get in this pattern of doing the same stroke over a number. And next thing you know all your bushes of the same size or all your cars or your buildings of your windows like the buildings, they all start to look the same. Okay, so we need variety, and you need to think about this as one of your principles of design. 9. Principle: Unity: the last principal we will talk about is the unity. So unity is talking about the whole. So we are referring to color, shape, size, value elements and so on. So elements. In this sense, you say we have a little landscape here. Well, maybe there's some sort of trash can or something that could be over here that just simply doesn't belong. And this beautiful scene and a lot of artists will include things that they see because that's where they feel you are actually made paint everything we see and experience. Artists simply understand that it's all about shape, design and eliminating clutter and things that don't belong. UT is a way to bring all of the ideas off of the elements and principles together and place them in a way that it works. That school conclude the elements and principles, and hopefully, by now you have a better understanding of what these elements and principles are, how they really to painting and your approach to design that sort of thing. Now we are going to talk a little bit more in depth about patterns and how they can take your work in your designs to the next level. OK, so thanks for watching, and I'll see you in the next 10. Patterns 101: in this lesson. I wanted to go over some of the basic design ideas and come and introduce you to I'm how something very simple can become a little more complex than, of course, how that can eventually work and to your designs for your paintings. So the first thing I want to look at our marks two basic marks you could make, um, or the dot in the line. Okay, So basically, any drawing or whatever you dio is either a dot or line Meken. Try to do other ideas a marks, but it all boils down to these two Now. At some point, you will want to advance from a doctor or a line into a shape so that some of the basic shapes would be a square triangle rectangle and so on circle. So I'm going to just look at a triangle. So a triangle three sides, its basic form with created with here, should say a line three lines. It's just not that are fascinating, but as we at things to it and look at it in terms of design, it can become very interesting. So now, if we take from the basic triangle and then add to and we'll clip one. Now we becomes, well, a little more interesting than Baby just want. So we're grouping or were using to for group point of the slightly different directions. One is white, one is black. All right. Now let's take that to another level. And that's looking at when I take this little more towards the center. Now this put him in a square, and now we can make four triangles and then we can Phil two of those and we get this sort of look. And then, of course, you can take that and make it a slightly different by filling the's particular triangles. Okay, now let's take the square. All right, so we couldn't even look at it as a group. So one square to square, we shaved one. We do another two. We shave this when we leave this one white and you end up with a checkerboard type of look that can be changed. Instead of having equal squares or equal spaces, we can alter that a little bit, make it a little more interesting in terms of design. This is a very, very basic way to look at it. I think If you've never studied design, then you need to look at it in these terms and on this level. But I could tell you things will progress very quickly. Now, instead of doing squares, let's say we do just some verticals here. So we have these vertical lines white filled. No, eso won, and then we can take it and reduce it to three. So we have one big one small one medium. All right. So again, very, very basic idea on using simple shapes in this case, there rectangles instead of squares. But the idea is the same. So you take something very simple like this even, and you make it a little more interesting. All right. So this idea of vertical lines here, well, that that can be a little more organic and interesting. So you can start to tweak the way or the shape off each lines. They don't have to be straight. They can be more organic this way. So this is just a an example of this idea, but it's just done in a in terms of in a design way, a little bit different manner, but again, visually, a little more interesting. And this is just simply another example on how that can work. All right, if we look at a horizontal same thing so we can take kind of this idea will read it vertically and make it into ah, horizontal, big, small and slaw. And of course, that can be a little more interesting. So this is work thinking Mawr left to right or right to left, But it's nothing more than this. My foot. Okay, now, lastly, um, for this lesson Anyway, Bulbul look at this particular idea of a design which is a cruciform or across however you wanna call, it doesn't matter. But you have this sort of shape on the course that can be reversed to like a vignette where the corners are light. You have a kind of a darker center here and in terms of a design, this is used quite a bit. And then again, we can take a cruciform and make it more interesting. All right, this sort of thing and again used all the time and art. So if we went back and looked at the very first idea what it is designed or ah, market is just just a dot in the line we design, draw whatever. We're simply using these two. That's it. To make designs, we could start very simple. We can make it more interesting. We can go here and then make it more interesting. And then so on. All right. So from here to here in a few minutes, Well, that that's pretty impressive. So imagine how far you can take this, these simple ideas and work with him, You know, throughout your you're you're painting career and really make some interesting designs. Okay, The last thing I want to look at for this video, anyway, is, um, interlocking shapes were designs. So if you were to look at this, this will look at the filled area for so this black section where the shape comes in, it goes to the right down in here. So it's basically they're locking in to that space. Or you can look at the the negative stays with the white stays, look going around the darker states. So this in a very, very basic sense, on a basic level, is interlocking shapes. This is a more complex looking shape, but taking this simple the idea and making it not so symmetrical or Even so, we're basically creating that sort of look so interlocking shapes that you look at the white space for the negative space, how it goes in. And then, of course, how the dark space is locking around the light space landscape painters and things like that use this idea all the time. So this was this would be a more complex interlock e shape, the lighter value or the white locking around the darker space. Okay, so, um, you know, this idea is just kind, like a handshake type of lock. There's nothing more than the same idea of interlocking shapes. OK, so from a design standpoint, these air again very simple ideas on how you can quickly start to I understand some of the more basic shapes and ideas of design s so that you can start Teoh, make ah, use of them and the course. The crying shame would be for an artist to simply not even consider designed because with these very, very basic ideas, I mean, you can do a lot of interesting artwork. Okay, so this is basically working with simple shapes, simple design ideas that will hopefully enlighten you on how you can start to use them in your work. And artists on the really good ones they based don't see objects as they are in real life. But but they try to do, and what they understand is shape. So they're they're looking at a shape. And then what they try to do is fit their subjects in that shape. Okay? And what a lot of amateurs would do is just look at their subjects. And that's all they do is they paint what they see. They don't look at it in terms up. Okay, Is this an interesting design? Is are these interesting shapes and what can I do to make them mawr interesting? And then they design. There were in terms of shape first, and then they fit things into that. Okay, And that's a much different approach than painting what you see. All right, so this concludes this wrap this video up right here, and we'll get started to some bigger and better things 11. How To Handle Equality: Let's look at equality. You can also think about this as symmetry, another very common problem when it comes to composition and design. And I wanna just give you some ideas to think about in terms of how you can play subjects that give you some guidelines I think will be useful. So let's say you have subject and you place that focal point right subject right in the middle. Now, if you've been painting long enough for you have any sort of design books or painting books at home, you know, pretty things is in the middle is a no no. So they pretty much teach that everywhere, and what you need to know about it really is. Placing things in the middle isn't the big problem. You can't put things right here, do it all the time. The problem comes when you start to look at the space around it. All right, so we have a B C D. Basically divide our paper. Half they are all equal, and that presents equality and any time things were equal in our design that simply doesn't work, and we want to avoid symmetry and equality at all costs. A designer you have to recognize when things are equal around it. And that's what we want to talk about here in this for a section. So I'll give you another example. Let's say you have a server, some sort of dresser, the vase with flowers and someone gives it to you, says Hey, let's put that on a dresser over there. I think you'd be pretty, and they typically will go over there, put it right in the middle and again when you look at the distance from the edge to the edge. Well, a would be the same problem we have here. All right, So let's look now an alternative. And let's say we have our subject again, right in the middle. All right, So we basically taking this and bring it down here. Well, let's see now. We This could be a house, and we put some trees bushes. Maybe there's something else happening here. This could be up a negative space with a tree over here. Whatever. And that carries over. And then we have a little sidewalk with some shrugged. Whatever. Okay. So again placed our focal point or our center of interest right in the middle Well, what has changed is a is different than D. B is different than seeing and see is different indeed there another. These are like they're all unique shapes and therefore that this were my He's with flowers . If this were my house, it doesn't matter. Is going to be, um, he's Metro. Okay, so the design itself, despite the subject in the middle, has inequality. And that's what we're looking for in our designs. No, we'll go over here. Let's look at some comment ideas about laying out your your compositions and designs. So the rule of thirds the rules Dirt's basically states that you can divide your paper and thirds both vertically and uh, horizontal. So you see, here I have there and they're so 123123 So giving me nine rectangles you such essentially and where they teach you is, of course, to place your focal points or point on one of these intersections. And that's why I think that works perfect so long as you don't counterbalance that with something right on these intersections. In other words, if I had a tree here, I wanted that tree to be my focal point I wouldn't want to put a smaller tree. That's his counterpart rate here, or probably want to carry that over here. So I'm not putting it right in the middle of this. In other words, not putting it here. I'm taking it over in placing it. This little counterpart there, of course, we're gonna add 1/3 1 or something like that to really throw it off. So in terms of the rule of third, I think this works fine. So you can place your focal point somewhere. Just be careful of not trying to counterbalance it. Here is about work to put it, his counterpart right here than what we've done is we created this kind of pool between them, which is again right to the center. And they have equal distance from here to here from here to here. So then you have this equality on the edges going in. If I placed it here, then there's the equality is gone. So we no longer have you looked in with the space in between. These two is probably, you know, and here somewhere. So it's no longer right in the center, so there's something to keep in mind about the rule of thirds. Another error with the rule of thirds and something you see a lot is artists will see you're doing a landscape and I've got my rectangle here. And then I've got my 3rd 1 across this publish it a little bit lower, but she saved are all equal. ABC and ours was you was it would take their horizon line which say is here and they will pretty much put it right on that third. And it would take me with their landline or something and put it here. And then what that creates is three equal spaces. So that's what this ABC is. So all of this is fine, So you're essentially creating equality. So what I do here is I sheeted what could be the background. I mean, that's to represent trees or whatever and then took the foreground and I brought it up. I noticed I didn't break it on this line. I went up and this could be buildings. It could be anything bringing it down. And here So now I didn't to buy things and thirds vertically, Okay, So always avoid taking your subjects and basically having three equal parts and this happens a lot with landscape tears as they will do that. And of course, if we did a cityscape, you'll see this a lot to where they will take thirds, and then they'll bring a structure down and do something, and then go right back up. OK, so you're creating equality there as well. So our dorm up cityscape that can please the left hand buildings, for example here. And then I would probably bring the nets abilities of the right power framing something this way. So again, I'm avoiding the trap of being right there, creating equal distance between the building, the negative space and the buildings. So by pushing us over to the right, basically have medium large small Okay, same thing here. So I would have large maybe, you know, small. And that's a much better design set up when you're dealing with thirds. Okay, Theo, The other alternative for dividing your paper and threes is think about this large medium small idea. And so I've done here is I've created a horizontal line over, so this will be my small space. I went way up here, put another one in, so this would be large. And then I have a medium sized space media. So when we look vertically him or horizontally left to right, I have a large face, a medium space on the smoke. Large, small, medium. Okay, so therefore, if we take these little intersections and we draw dots kind of like what we did here and I placed my focal point to say right here, this could be a bar in our house or something. You know, I have this little path or whatever going to it Now I want a little counterpart to this. I can put it down here. I can't even put it up here. You if I put it up here, you know we have inequality. And so this sometimes is a better etcetera because you are creating inequality from the beginning. Now I use the third is to our is very, very practical for my design. But I kind of know the traps that happened with doing that's now, if you're if you like the idea of using thirds and the fighting a paper, this is a great alternative and maybe the ideal. So of course you could do this in a few years from waves. I just gave you one example. So I started with large. So let's say I start this with medium and then I can do small and I've got large. Okay, so I started medium, so they start large then I have media. We have large swimming. You smoke. In any case, this creates a little more asymmetrical opportunities, perhaps than the traditional rule of thirds. So this is something good to think about in terms of your design and perhaps the ideal solution for thinking about composing and designing your artwork. And even though I gave you landscape examples, this will be fine for, you know, a still life painting or whatever, so long as you avoid the traps of symmetry. So I'm going to go over some of those ideas in the next lesson. 12. Design Within The Frame: designing within the frame, whether your thumbnail sketching, doing value studies, sketching in the field with trying to come up with ideas, working from images, it doesn't matter. You always have to start with. Ah, frame and a frame will simply help you understand where your edges are and what aspect ratio you may want to work with to make things work. When you get to an actual painting situation. Okay, where you're creating a finished work of art. So, like, here is the problem and you will see this quite a bit. That's a This represents your sketchbook or whatever it is you used to drop with. And basically, this is a legal size sheet of print paper, and I just start sketching. And maybe I'm doing a landscape here. And I have some objects going on and so on. Okay. And maybe have in the city and I start to do some drawings of some vehicles and some cars and some buildings or whatever. Okay, so now I have these little studies and sketches that I like, and now I want to take them to my campus. All right, so now I'm dealing with the canvas that has this. So canvass has pre defined measurements and there's an aspect ratio going on. There is ah, you know, a certain size and proportion that this has that you're drawing does not. So when you go to transfer here, you start putting it, putting in your elements. You wanna find that things get cropped off because you don't have room for him. So if you tried to take the city your sketch here and you draw lies or grid or something that you start to transfer that and that's how you were, then you're gonna find that things don't always fit within this frame. Okay, So with that being said, ah, frame is important. So in this sense, we could think of a frame as a canvas and the example I have here 16 by 20. So if you take a kind of, ah common denominator here, four So the ratio of this will be 4 to 5. OK, so four towns for 16 4 times five is 20. You get 45 ratio. That makes sense again. That's just one example on. Campuses come in different sizes, but this is just to kind of get the point down. Ah, frame and then the ratio. Now I paid on paper a lot, so I use £140 cold press paper. I buy large sheets, and the sheets come in 22 by 30 length. Typically, I cut the sheet in half like this, and that is 15 by 22. Now. What I do is I take take masking tape and I will use about 1/2 inch border around now. Use tape, not take to my drawing board my paper or all the way around. So we take 1/2 inch all the way around. You're losing an inch all the way around, so I may start with a 15 by 22. But by the time you put the half inch border around, it's a 14 by 21. So if you look at a 14 by 21 for example, the aspect ratio would be 2 to 3. So seven times two is 14 3 times seven is 21. All right, so again, that just gives you two examples off kind of a common ratio or for frame size. And I'm talking about frame again. Assigned about ah finished frame for a painting. It's about working within the frame, the edges of your canvas or paper to design your work. So whether your thumbnail sketching, working with compositions, whether you're doing value studies, it doesn't matter. You always want to start with a frame. So now let's take the next step. So the problem, as I mentioned before, is used. You draw randomly on a piece of paper, OK? And then you have something that works here. But then when you go to the say, squeeze it in a two by three or 2 to 3 ratio here, it doesn't happen. And then the earth you're forced to make changes that you may not want to make a solution would be to understand the common aspect ratios of the ratios that you will probably want to work with. Now again, I'll give you a couple of examples here. So let's say we have a 16 by 20. All right, that will be a 4 to 5. So four units, about five units, it doesn't matter. You can flip this and do something horizontal or portrait style over Mansky. You know, however you do it, it just simply doesn't matter If I took a 2 to 3 sets of 12 by 18 24 about 36. Something like that. But again, that would be some common Brescia he may use. Now you may use a canvas. 11 bought 14. So 11 by 14 if you divide it in half, is 5.5 to 7. So maybe 5.5 to 7. You could even take that and divide it in half. Okay? And if you did something like that, so I know a lot of people work with 11 about four Kings. That's a nice size canvas. But let's say just for the sake of off having this number here, if you divide that in half, Okay, we have 5 to 7. If you divide that in half again. So you have to and the same 3/4 2 3.5 And if your thumbnail sketching both two and 3/4 to 3.5, maybe the size you want toe layout. If that's a comment size canvas you paint on, then that's something you want to keep in mind. All right, so let's just kind of move on now, and we'll get into the next part here, which is the Prepare your frames, All right, so preparing it frames is a great way to save time. And it's a great way to work quickly, of course, when you're ready to go. So these are some examples of what I mean by preparing of frames. So 2 to 3 so you can see. I mean, it's a Siri's off eight on this piece of paper, I use a sketchbook sometimes. But I used good old printer paper a lot, too, because I find I'll work with images, all three things. And then, you know, if I'm doing the sketchbook, it'll sit around. But I'm kind of bad about knowing what to do with them once they fill up all that stuff and for thumbnail sketch. And I just like to get my ideas down and then let's not get him down. And then that sort of thing, I know we don't refer to him and he works. I moved on to something else, but anyway, this would be this ah standard 2 to 3 ratio grid, the half set up. Now I can make a bunch of these, but it makes more sense to me to take this and just scan it and make a bunch of copies of it. And I keep those off to the side. And now I may want another one that's maybe 4 to 5 or whatever. If I did a 4 to 5 ratio, OK, so I worked a lot in the 16 by 20. Well, 4 to 5 is kind of big for thumbnail sketches. In my opinion, I would probably reduce that the 2 to 2.5, All right. So I would set up a grid that's two and then 2.5 and then 2.5 and then make my grid that way, and then I would label it. So I I know that this is a 2 2.5 So if I want to go to a 16 by 20 or something with that ratio that I've got that ready to go make copies of it and then you're ready to thumbnail sketch whenever the impulse pitch, you that boom, I've got something. I want to work with this getting here now and see what happens. Okay, with my thumbnail sketches. Now, let's say from a thumbnail sketch, I've got something that I like a lot. I want to pump this up to maybe a better composition to kind of refined things a little bit . In that case, I would scale that up to a four by six. Okay, so double the size of that put it on to put you on a sheet of paper. And now I can refine my composition. I can get it here and work on. You're adding some figures and different things and details that maybe I wouldn't do with quick thumbnail sketch in with quick thumbnail sketch in. I'm just working on the main shape boom, boom, boom, boom, boom, boom boom that works. I like that shape. That's a good pattern. Let me bring it over here and, you know, take it to the next level. I would do value studies, composition studies, things like that. All of this scale foreign again. I would make this would be. Maybe my master copy May stands of it, and then you've got a bunch ready to go. And again, you know, different ratios. You depend on what you use and what you like the paint on. We determine how many of these you have, but it wouldn't hurt to have to the three common sizes 5 to 7 things like that around at all times. And in that way you can try different stuff out. You know, you ready to go? But this is Ah, smart way toe work. It's much better than coming over here and trying to sell with it. That's my friend. We'll find what is that used to be realized with? That's a two and 1/4 by to win three eights and now you got kind of a really bad ratio. There are framed work with that doesn't really work, and we start to transfer it to your finish work. OK, so lastly again. And this kind of just well, something's up once more is the goal with all of this is to avoid compressing your sketches and your ideas and, of course, avoiding Teoh cropping them all right way Don't want to lose our idea because the things that we sketchily work with we get excited about. We don't want to make changes to him once we start to transfer them. Okay, have to a few sizes of thumbnail ratios. Okay, we'll talk about four ready to go at all times. Okay, Have one for your thumbnail sketch in. Have one for your value studies and compositions on then. Have you another aspect ratio ready to go over here And you may want three. I don't know, but you don't want ever to put your image up on the screen or on your iPad. Start painting okay without spending some time thumbnail sketch in the value studies and that sort of thing. Eso anyway, us, Like I mentioned before, scale up the sizes for your composition of value studies that would kind of follow along here. And the more you thumbnail sketch in, the more you design within a frame. This having that frame, their working within that knowing that that's going to transfer to, besides that will work is gonna be a huge plus in your workflow. Okay, so that concludes this lesson, and I'll see you in the next one 13. Lighting: Now, let's look in lighting on. Just like the previous example is the point of view And that sort of thing we couldn't. We have complete control over this. We're not locked into taking photographs. We are artists. We decide where the lighting s. Okay, So I'm going to give you some ideas on how this works, so you can apply it to your subjects. So let's just look at the basic idea of lighting. And this is natural Lake. All rights. We're dealing with the sun. 6 a.m. It rises. All right. You may have. Ah, slight angle here. 10 a.m. Okay, we're about halfway to noon or so. And then we've got this sort of angle with the sun shining on our object Noon straight down , 2 p.m. Make sure you got that clear. And then we have this sort of angle. Six. PM here. Okay, so you kind of get the idea of how the sun moves around. Okay, so we go, it goes in this direction. Of course, it will cast different shadows on our object at different times of the day. So if you are dealing with an image, or perhaps you're out in the field, and it's new. You don't have the desire lighting you want. Well, you have the power to change that. Okay? You just have to know a little bit of information here to get it done. So in this example, we're going to do today. I am. Okay, so we're up here somewhere in the sky with our son. There's our little son, their shiny light down. And this angle now, what you want to do to figure out the angle in the shadow? Okay, in this case, cash shadow of our of our object is determined the angle that the sun is coming down. So this case to say it's about a 45 degree angle. So I draw my line up to my son, and then I create what's called a horizontal direction or a ground plane. However, you want to look at it, okay. And that create from this point, a 45 degree angle down. Okay. And then this is basically my triangle. Now, what I would do is I would transfer that angle in the strangle to the sides of where or the corners. Really aware of the was there away from the sun. So, for example, even though this is not getting direct, sun it with direct something beyond this side and on the top on this is still facing this way. So in terms of the direction, it's still tours the sun. So I will go over here to this one and then draw my line out here, determine my 45 degree angle. That gives me a point right here. I'll do the same thing with this one drama, 45 degree angle role light, and that puts it about right there. Now there's a side over here. So if I just dot that in there, Okay, this down in there. So if I draw my 40 45 degree angle here, Okay, is barely going to inch out there Now, what's that determined? The end of it. I can basically connect the dots, and that's going to be my cash shadow with it. The sun at 10 a.m. Okay, so this side is completely away from the sun. Okay, so it's going to be dark darker than the other sides. I know we're getting a little bit of shake their so I apologize for that. This side is getting shape. So it's not in direct sun but a sock in it. It's gonna be darker than this one. Okay, so it's not as dark is the one an extreme sons extreme shadow. So I will give this a lighter value because the top is getting son, I will leave that alone. Another way to look at this is in some artists uses a lot. It's called the white principal. I can create a circle. Put a why in there if I'm looking at my object, I knew my son is over here. That's gonna put this one and direct shadow. And then it will make this one in a Midtown. OK, and we're gonna carry that over again and the next example. But okay, so that's an idea and an a technique you can use to determine your shadows. All right, now, let's say son is at 2 p.m. So it's hitting a different side of our cute. Now the angle is going in this direction. The horizontal direction of the sun is left. The case We're getting this now. This is basically on the sun side. So unlike over here, it's facing this direction. These were not gonna worry about this side when I go over here and worry about this side so that come over here drama angle in a 45 degree angles. Kind of just like this to match that. Draw this out and I've got my point. Same thing here. Draw my angle. I have my point. The same thing here, drama and going it probably is gonna come out about right there. Case we have just a little bit showing in here. And then we connect the dots. What? Before? And we have our shadow because this isn't direct shadow. It's the darkest. Okay, because this is catching a little bit of, like, causes towards the sun, but it's not and complete shadow. We'll give that a minuto value. The top is getting sunlight on it. So we leave that alone. Okay, so we have an example here of 2 p.m. So what about 1/3 example and we'll go with the sunrise. So they say the sun's up. Not for maybe 10 15 minutes, 30 minutes. Whatever we've got maybe 15 degree angle. We know now that the sun is hitting this side. Okay? This is probably in direct shadow. OK, so this one is probably will be that this I will actually be the darkest. But this side is gonna be dark relative to everything else. Okay, so we find our angle and we start connecting the dots, and now this is the side we're gonna worry about. And now we get these very long. That's why you see in the mornings and the evenings. And this is why many photographers like to get out and shoot is because you get these lovely long shadows and that's basically what you will be dealing with in the morning situation. All right, this would be the darkest off the three. 123 And then this would be the Midtown. OK, Because the sun is low, nothing is getting on the top of that shape. And so this would be 6 a.m. This again is done with a very basic shape. But you always have to understand that the majority of the objects you paint that you work with have a shape with their cylinder cuba rectangle. You know, it just simply doesn't matter. You have the ability now to tweak your light and shadow, and this will help you create Ah, better imagination for your subjects and how you can create better compositions. And if you're out the you taking photographs, maybe you're on vacation and the lighting is bad. All really want to come out here 6 a.m. and photograph this thing. Well, I mean, you don't necessarily have to. You can just get a photograph of this noon or two or whatever common. Maybe just get a photograph of it. And now you can use your imagination to put the 6 a.m. or put the six. Pm or to know whatever time of day you want. No. Is it gonna be 100% accurate? No, but that's not really the job of the artist. We are here to do things, their imagination, a little bit of creativity. If you want to do things exact, then you know, maybe you should just simply take photographs and put the paint brush down. But if if you're if you understand, you know how to manipulate things, how to change your lighting, your point of view and what not? Then you're gonna have more tools. I'm at your access, and then you're gonna be able to create things that aren't that don't exist in front of you . OK, that's the whole idea. So now you can break out those images that have bad lighting. He could put your own light on it. Okay, so I'll see you in the next. 14. Point Of View: Let's look at point of view. Support of you basically is where you're standing, looking at your subject. And this could be where you were standing. We took the image. This could be where you're standing in a room and you have your still life set up or whatever. So if we took this example here having X for the circle and they say you're standing right here and for the sake of a lesson here in a conversation discussion, let's say you're looking at, Ah house Here in the center. The red line represents property line, so we know you're not going to go on someone's property unless you have permission. So let's say the best you can do is stand here and look and maybe move lapped and move right a little bit to look at your subject. So, apart from that, you're pretty limited to what you can do. And this is how most artists think. Now, you may not go out on location and draw or paint, so you may be working from a photograph. That's probably a more common scenario. So in a photograph, of course, you're very limited. You can't even scoop left or right at all unless you use your imagination. Okay. Now, here's the thing. Ah, lot of objects can be broken down into basic shapes. Rectangle, a cube. Ah, cylinder and so on. So for the sake, again, discussion. Let's just say we take this structure here and we say it's a bar in our house. Now that's some basic cute. So if I draw a square, we have just no one side. Now scoot a little bit to the left. Well, I can start to see the left hand side. I moved to the right of the structure. Well, I can start to see the right hand side of the queue. If I bumped up a little bit, I could start to see the top of the cube if I start to fly over it. Well, maybe I could start to see the entire top of the cube. And of course, the height begins to get compressed a little bit. So, basically, if you can start to see your symbols or your subjects in the shapes you're doing in basic shapes on, simplify them. Then you can start. You change your point of view. So, in other words, if this were, um, again, this represented my bar. Well, maybe if I'm no from my photograph, I can't move over to the right. Okay. I'm stuck with this a Nimitz that I really can't change unless I use my imagination. Well, if I'm stuck straight ahead like this, imagine it. I'm standing a little bit to the right of it and draw my house. I know I could move to the left in my head and create this sort of thing. And, of course, the same can be said here if I'm flying over top, I got the bird's view. Then I can create a top as well so I can get on aerial view by using some imagination. Okay, So whenever you are designing and composing, you want to keep these things in mind. You know, you never have to be locked in to what your subject is showing you, whether it's an image or a gander, if you're out in the field. So if we get back to this example here, so I'm kind of back here, but I'm gonna transfer down here. And what kind of with same set up. So let's say we are standing here. We're looking, we could move a little bit to the left a little bit to the right way. We can't go on their property and were kind of limited where we can go. So from this vantage point, or photographers call it a station point, you can basically expand your view to about right here. I'm just just with using your imagination, okay? And I can expand to hear because I know how to draw a cube. I know how to use basic shapes in perspective. So basically, by you having one vantage point, you can pretty much you draw a nice range off shapes again. You have to understand this to do it. Well, let's say, for example, where you're standing has a street over here, so you can come over here and standard this X Well, that's gonna open up all of this for you because now you can see this side of what's going on. So maybe the structure has outfront, and then maybe on the side, it has another section of the house. So now you can start to see where that how that section is going back. If you can see that you know what's happening over here. The chances are you can fill in the blanks over here too, as if you were standing here. But that's gonna open your view up. Even Mawr point of view is something that we have to consider were kind of limited again when you're dealing with photography. If you had the luxury or get luxury of going out and painting on site, then you can move around a little bit. But, you know, you don't necessarily have to do that. You could stand in front of your subjects and imagine you know what they would be like if you were standing at a slightly different vantage point. You have limitations to where you can go. You can still tweet them. So this is kind of the first little look at point of view and again breaking it down into a very basic shape. But I'm as things get more complex, you can. You can still use the same idea as a tool to make things work. So when you're drawing, you're shapes. You're laying out your compositions and designs. You have a lot of flexibility. All right, don't ever get locked in to what one particular thing that you're seeing now? Because we are artists and not photographers. We can always change things. Okay, If we use our imagination, we understand some basic drawing skills. You have the ability, Teoh almost create any point of view you want. OK, so let's look at distance if you're standing here, okay? And this is you, and you're in the house is far away from you because this could be 100 yards 300 yards a mile. You okay? Obviously it's gonna be a little bit smaller. And this would be a very, you know, broad shop. Okay, now, of course, if the house is getting closer to you, then obviously the scale starts to come up a little bit and it gets a little bit larger. And then this. Say, if you're standing right in front of the house and this for the sake of having something here, will say this is a mile gave. You can call this 1/2. Now let's say you're right next to the barn right here. If you're right next to the bar and then now you can see a lot of different things. You can see the details. You can see texture on the wood and you can make out things you couldn't make out way back here. Okay, so we have a long shot. Obviously, you're taking it up. Kind of panoramic sort of view of what's around the structure. It's a medium shot. You're kind of zeroing in on what that will look like. So it's a little bit bigger in your field of vision or point of view. And then that's right next to you. You're looking right at it, maybe five feet away. And obviously you're going to see just the details of the structure. OK, so in other words, it is a long distance or the same mile away. Then you're gonna get what they call a long shot. Okay, so it's basically showing you the structure and what's around it. So they could be Ah, my trail little driveway leading up into it. There could be a tree in the back. There could be some other bushes here, and they miss the mountains in the background or whatever. So you're getting an atmospheric view of it. Okay, so again, a long shot, a medium shot. Well, now the structure becomes more part off the image. Okay? So you're cropping things out. You get probably rid of the mountain and the skyline you're bringing in, kind of. Ah, how much closer Point of view. Now, if you're right next to the bar, then obviously you're looking at detail. So we're looking at no windows, the sighting structure, the barn door, the materials, and you get a little more off Read into what? The barn is actually made up, Okay. And what it feels like. So, in terms of distance, you have the ability, ability. As an artist, you change the distance that your subject or your center of interest your focal point. Um iss. All right, So the goal here is to understand you can always change a point of view. All right, We discussed that here. I showed you just some ideas, some basic cubes and things and how it is knowing how to draw basic shapes. We'll help you out on. But I showed you Well, if you can kind of sneak over here, get another side of you up of what you're doing, then guess what Now you can pretty much go all the way around if you know what it looks like from this vantage point. You see this now? Well, now you can pretty much envision what's behind that. You can get all the way around this thing, you know? Is it going to be 100% correct? No. But that doesn't matter where we're artists. We're trying to create symbols on paper that makes sense and that are interesting to look at. OK, but anyway, you can always change a point of view. You can always change the distance of which the object ISS, and that's very important, how you crop things where you position your shapes within the frame. So if you remember right, that's our frame right there. And it's a very, very powerful tool if you start to use it. So basically, the idea is you change the f the ability to change an experiment with your design options. When you simply stop copying what you see, you start to learn about basic shapes and learn how to tweet things. Take some liberty and to changing the point of view, tweaking them a little bit here, advantage. All right, this is all part of design. These are all the tools that are at your fingertips. Okay, I'll see you in the next one 15. Design Example: Well, this put some of these ideas to use here, and I'll do an example of a design again. I will place the main structure and shape right in the middle, and then we will work around. It will tweet things to see if we can create some inequality in our design. Okay, so let's say I start down here and we have, ah, structure right in this section. No, it's already. If you have watched the previous tutorials, you'll see you can bring this out from the edges. Notice that some designing and work. Okay, this is basically on interlocking shape. All right, So already I have some design principles that was going for me, but now I've got some problems. Look at my subject from the center, and we've got equal parts all over the place so I can start to look at my subject. Then perhaps I haven't image here, and I can start to extract things from that image to help me. So I will focus first on the right hand side. Okay. So if we were to just blocked that out for a second, You see, if I divided this town in the middle, you know equal part on. And I want to present some problems. So I will address that I have a trucker's something happened right here, so I can start to design and or add this little truck right here that the wheels on it. All right, So if we were to see what we have now, okay, that's that's different. Okay, so now, off all But maybe I want to make that a little more clear and added a little more symmetry there so I can start to come in here and look at what I have in terms of what's on the painting. There's another structure going on, and I can that, like a little sign on the building here, something like that. And now we have even more symmetry, and that also helps with what's going on here. So that was balanced. Now that still in that state's off. So that's looking a lot better in terms of a design. I still, you know, I want to address some of this open space in here and now with my image, I have some buildings or some land back in there so I can just draw a line in here I've shaved that to represent what would be the background of trees and Nickleby buildings or whatever homes are anything back in there, but it still doesn't help me In terms of my design, I still have a little bit of symmetry going so I can look at what I have. No, this is my middle point. So probably don't want to place anything quite right, you know, right in that spot. So maybe I can look at this sailboat in the sailboat and the images planning outward. So I'm just going to place as winning inward. And we have a nice tall mast here. And sales, that's a lie. This stuff like that. So now that makes it even better again. We remember place started putting this right smack dab in the middle with that building structure not coming here and add some different sized boats. Okay, remember that scale size having different size. So I have one big boat, maybe a little small in the medium. Okay, So the design, it's starting to look a little bit better. And now you may say, Well, what about a focal point? We need something there that has some interest and um, you know, this is the center, so maybe I can push my focal point this slightly to the right of it. I played a little figure here. Maybe a little figure here they could be talking. And then we have Ah, maybe a big sign or doorway coming down and we'll sign and so on. So that puts my focal point slightly to the right work to the left. Okay, So if this was center, that puts it over in here somewhere, that started, look a lot better. And I may have some issues here with this kind of big void space, and that's fine, but weaken address that too. So let's say we have another vehicle here so the vehicle can design. It pops up age a little bit. It could be another truck sitting here off the edge. And we all know what's over here on the right. So this could be a little grass area you can run a shadow over and we could start now at our light and shade a shadow may be coming from our cars, people And so on shadow here under the sign So calling all we did pretty good. So we have our figures here, which is kind of our focal point. We have basically a big structure that started right in the middle. If we start to look at all of this so kind of where this figure is, okay, and then kind of where this line comes in, What you have in terms of the main shapes is something I'm going to throw the line here because again, that kind of brings to my focal point. So we have this sort of structure, So it's coming down big here. I think it is over and then a little bit smaller. You can so long. I have my figure right here somewhere. So that creates thanks so much for design. And that is basically what you want to think about when you're working with things. Okay, If you get locked into painting what you see all the time and that really paying attention to symmetry and the quality of things like that, then you're going to get in trouble. So when you're designing and you're putting things together, you know whether you work from images, you you're out of the field doing sketches. If you really trying to compose and you're bringing your heart to a point where you're going to pain. I always use some guidelines toe help, place focal points and to place your main shapes Where, um, they they simply are going to become a problem. And I think if you start to design your work this way and again, I mean, I started with probably one of the worst problems out there was pleased him a big structure right in the middle. But because the spaces around are different, the asana problem anymore, I can promise you had designed it differently. Then it would be how to be stuck with this composition design with this and everything's equal around it because I've changed things and you can see it's not a problem anymore. But so again, this is just one example one design. How can tackle this particular scene? But it doesn't matter. Doesn't matter. Comparing apples, oranges, Lansky you You always have to think in terms off placing your sheeps and then look for problems because it probably there. Even when you become very experience and doing this, it's so easy to fall into the trap of up doing designs. But that half symmetry and equality. All right, So anyway, I hope this example from helped you out a little bit, and now we're going to move a little bit. Ah, full work here. And we're going to actually do a design and work with value and things like that and show you how this would work in a painting scenario. 16. Two Value Pattern Sketch: a two tone pattern sketch. Okay, you're dealing with. Ah, light and a dark. That's it. Okay, so the idea behind it is it will simplify your lighten shadows, and you will start to see how they connect in your painting. So when you start to approach painting, you will have that simple visual of understanding how your shadows and how your lights hopefully luck. Skates were trying to get these things toe lock and not live separately. Okay, so when the moon, we can get them to merge, the more interesting with the painting becomes Okay, So I gave you. Ah, a couple of examples here. So let's say we have our light source in this top one coming from the top right hand side. So shining down on a cube So the the side here and this side plus the shadow would be in a dark value. Okay, Notice. They're the same, though. So I didn't shave this side any darker than this side. Okay, so is one value. It's either light or it's dark. All right. So I'm not gonna treat anything any different than the next. All right? This is an example that say, the sun is just starting to come up. Okay? We have a low sun here hitting this shape. In that case, the left hand side would be getting the light, the top, the right and the shadow would be in dark. So you can see how these to change whenever the light source is in a different position. All right, now it's important to understand it. Here. Have you never done a simple pattern sketch? This is a good way to look at it. And this is different than positive and negative and all that stuff. This is more about understanding lightened shadows, trying to dissect how you're different shapes and our lock and how they kind of connect with each other and how they sometimes don't connect. All right, now let me. So we try this first just so you get a feel for what's going on, These very simple, huge shape change a light source a few times, and then you will start to get a feel, for they could move on to your composition and what you want to do. I notice, too, that I'm putting things on. This is a 4 to 3 ratio. OK, so 43 Okay, so I'm using my frame. Okay. You cannot do this anymore. Just randomly sketching and then over You're done. I'm gonna draw my little frame around. Okay? Now you have to start with your frame. That is the ratio of the painting that in the size of the canvas or paper that you're going to use very, very important. O K. Doesn't take but one minute to draw those lines out. But you have toe have all right. So moving on to a more sophisticated design here. This not food one of landscape. You can see how everything that's in shadow is treated the same. I don't care if it's in the background. Middle ground, foreground. It just simply doesn't matter. It's in shadow. It gets that one value. All right, that one value is right there. Okay. This light, it's here. It is nothing in between. So you can see the truck here. The top isn't light. Okay, so you can think of your light source coming down in this direction. So light, this would be a shadow. This is a tricky one. You're gonna have a few situations like the rooftop of this building. So me look at the the angle of that rooftop. Okay, what do you revealing with a pitch like this? So, more than likely, that's not going to catch a lot of light. So this pitch is a lot different. Okay, so that roof, because of the angle, is probably catching a little bit of light, as is this one here? Okay, so that pitch is almost a flat roof, so I would have put those in light. So you have to make some decisions here on, um, once in a while about things that that could be, you know, in the caught in the middle. But just simply make your decision and decide. Finally, based on how your lights and darks are starting to connect, how is that pattern looking? So notice here is a little figure, and I let the little sliver of light that would be hitting the shoulders and look how that is interlocking up into the shadow off the buildings. Okay. And that's important, because now that connects these shapes. Very, very kind of interesting thing to think about with your painting. Same thing with the mass. So I have my dark boat here, this in shadow the masters going up. It's in shadow. It's a vertical list May be getting light on this side, but for the most partisan shadow. But whenever I get up into the background, which is trees or whatever, notice how I left it white. Okay, so that would be where I would want a place that lighter value to pop that mast. Okay, so that would be something that I would do Is an artist to improvise and to make my my two tone patterns sketch more interesting. And, of course, you can look at the top of this, the truck and how it was white and how that shadow and how those values basically, how these shapes right here kind of locked. So this white spade this dark is stopping here is going up, over, down across, and then the light value off the truck. The top is kind of connecting with the light value off the ground. Okay, so, um, that's the idea. Okay, That's what we want to do in terms of creating a two tone pattern sketch. Okay, that tells you how things air connecting how it gives you ideas on how you can shift things to make them connect better so that these shadows, they all start to relate to each other. Okay, they all become a little more interesting. There is a little bit of a white speck right there on top on that truck. So maybe the front of the truck is catching a little bit of light. There's that nice little pop of white and light right there in that dark shadow. Okay, so this is the purpose of it. And this is the value of what it will add to your paintings. And then as you get closer to creating your finished piece, you now have something really solid there. In terms of understanding, you're painting from a simple two tone value sketch or pattern sketch. Okay, so that's basically what a to tune patter, sketches, and hopefully it will help you out as you move forward. 17. Three Value Pattern Demo: in this tutorial, I will go over how to apply the idea of painting and patterns to a scene. Okay, So before I get started, though, I wouldn't point something out. So before we even know, start to put color down, I want to kind of recap some of the lessons we've already learned. So if you look at the composition here, you basically have this. The shapes coming up from the foreground, moving over and then back up and out. Okay, So you have this almost. I think it is a canny lever. We can also look at it as a cross or cruciform in ways. So the idea of the composition is that it fits within something that is going to be interesting. There's no equality, shapes or balance. We have a larger vehicle here. We have a small way of a medium. We have a medium building a large set of buildings. A small went off to the side. If you just look at the division, how this is separated, there's a medium states here. Okay, I'm put a little mark there, So from the top to hear and that's indicated off to the side. Here. There's gonna be a little awning on this building, and right here will be a lamppost in the bottom of that kind of hits There, this will be another lamppost. That kind of hits the top. The top of it is that line here is the basically the horizon, or were that the buildings will merge, and then these go out. Okay, so that line hits right there. There will be another set of lamps, and here, Okay. And those lamps will be a little more complex, but the bottom of it of the lamp will be right there. All right, so in terms of and then the small states, you know this. You know, the top of that, obviously, is the bottom of the medium. But this spot is marked by the top of the car in this car. And where this figure is a shoulder line and coming through pretty much where this Kuby's crosswalk lines are, you have a very subtle division there with a small space. So everything's there. Then, of course, I have a large space. So all of this. All right, So the composition was thought out. Okay, so now moving forward, I will show you how you can use a couple of values to indicate pattern. Okay. And then that's going to help Understand how some of these shapes start to mingle and lock and connect to be the whole bringing it Basically unity. Now the medium doesn't matter. You can do this with acrylic. Watercolor oil's again. This is about design. And when it comes to design the, you know, because digital trawl, you can do whatever you want in terms of getting there. Okay, Now, because I'm using watercolor, I think in order also to illustrate the idea will work light to dark. Now, the light areas, I'll just simply use the white of the paper for the medium areas. I'm going to use a neutral, so I'm not gonna worry about color. I'm simply going to worry about, um, using and applying the idea of patter. Okay, that's it. So we can do color too. But I don't think we really have tohave it to get this point across. So only start, start, and this will be a basically a to value sketch, okay, and to value pattern, basically sketch. So I'm going to start with my medium value and I'll go ahead and place that and pretty much all the spots here and there will be a the lamps in here. I'm just going to leave a little white space there, just too lightly indicate it. And and really, with this initial area, pretty much covering the entire thing. Okay, so the only thing I'm not gonna worry about painting really are my lights. And that's gonna be where I mentioned before the white of the paper and which states basically going to be the sky in the foreground. Now, in a real painting situation, they would have different hues, of course, and there, but they would be very, very light value. Okay, So keeping them lightened value is going to enhance my pattern. Right? That's what this is all about. Now I'm coming into this area where I knew I want little crosswalk. It's important part of the pattern that's going to connect with the car so those shapes will be locking. But I'll go over a lot of this once the this part is done, I'm just gonna fade that out a little bit. And we have some darks coming down here. Just basically reflection from building in the last little area we need to do really isn't here. Maybe. No, I'll leave some whites on the paper and here indicate a little perspective line or whatever . All right? And that's pretty much it. Okay, so for the first splash of color in the first main pattern, you can see how that pattern work. So you have light dark, you've got light, dark, light, dark, right, These lights coming in and connecting with the car. Give it that interlocking of shapes and things are gonna interlock a little bit more when we start to add the next pattern. Okay, so I think the goal here at this stage would be to let this dry a little bit, and then we'll come back and and add this last night, but before I do, I didn't want you at a little bit of value right in there. Okay, I'll see you back. All right, Now I'm dry, and I can move on to my next pattern, and that values going to be darker than what I already have. So I will take some neutral tent, maybe a touch of my poker, and now you just to, you know, think they wear my darkest darks gonna be How how are they going to mingle with what I already have? All right, So I've got my figure here in the middle ground, foreground, really is just simply a dark shadow or reflection here. A dark reflection here. The rest of that's Middletown before I even do it. Look, look at how this value was leading a real light and you have this cruciform. Okay, so it's coming down, up. Things are even. So we're air. No, it's not symmetrical. And it works. Okay, So darker values. I can start you, um put those in and again, this will be real loose. If I were tackling a painting or something, obviously I would being a lot more precise, but for understanding to simple pattern theory, Um, it's going to be just putting their very, very loosely very quickly. And now is moving those darks right through the middle. And those darks gonna start to connect different shapes. So getting here, Teoh the lamp post. And I have my other lamppost here on, and I'm a little car back in this section and I can leave little bits and pieces of that original wash their that gray, and that's gonna help. Hi, this pattern into this darker. So, you know, by leaving little gaps there, it basically will help connect things. And no moving some of these shadows over and little by little, making my way over to the right hand side. Now, this is an interesting area. So I've got my figure here on them. I want my figure to have a very dark pattern. So what I'll do is just lay that in first, okay? And now I can figure out how this darker pattern reflects and connects to it. So now it's gonna dry my brush off and go around the umbrella like that. And then, really, this stuff can just dissolve into no detail and stuffs all that's connecting, though, So soon as I start to connect this dark right here, this pattern, um, with the windows, then you start to get an interesting shape. Okay, that's all part of a pattern painting and understanding how the this stuff works, and that's good. And now I could just soften this up a little bit and start to move and to some little subtle details. But that pattern is going up So these darks are moving up into these details. Okay, so that's making that dark pattern interesting. I was softening that, and then there from here, you know, we can start to add windows. Little details, and all that's doing is making this darker pattern, uh, more interesting to look at. And now we have a maybe a dark under this area. Now what? My brush and is dissolved that and bring it down little window there on the side And this now again, softening lines here in the air, making things. We're visually interesting with how the shapes connected. Lock now, getting into the car here, Um, I want this value down in here to be nice and strong, and that's going to make the composition more appealing. And to do that here now look clean water to soften that drying up and pulling this dark pattern down from the figure and then the connect a little bit with these lighter values. Very, very subtle. Could make pull that dark pattern in there, locking those shapes, pulling, putting some of that dark pattern right here. And so little by little coming together. I don't need much more, so this point do something like that, and that's pretty good. Therefore, um, for the actual pattern, No, it doesn't need to be, um, much more than this. And so now I can take these darker values and run connected with the foreground, do some little tire marks and things like that. But for the most part, I think, um, you know, these these panners were connected. Soften that edge a little bit and run a little bit of darker value in here. All right, so if I wanted to connect some of those lights So this right here, I don't have a lot of white value in here of this pattern. A little bit in the card in the wind window, there, the windshield. But I can always take a little weight washing some working with watercolor. So imagine this shape of the white coming down speckled in here. There. You've got a really light value here. Now I want to add some of that white pattern. You know, in two the rest of the painting, you can take a little bit of bike wash in this case, do that coming here with a detail brush and start adding a little bits and pieces of some figures catching highlight. And that's doing nothing more than enhancing that pattern. Okay, and something like that is good coming here. And add mine. White globes on my, uh, lamps and stuff. Details are you always come last, but they're always need to be considered, um, as part of the pattern. So if I start to no finish off these little globes and stuff like that, um, you see how those tie into those a darker value patterns. Okay, but that's that's pretty much it, I think, for understanding of a simple value pattern, using basically three tones how the basically work in a paint setting like this. Is this really all you need? You can see how everything was thought out in the beginning in terms of a design. Then we moved into you know, the pattern of things. You know, the shapes. How did the shapes work? How do they fit? And that goes back to, you know, medium small large, getting things to work in an interesting way on the in the design, and then moving into the final step, really, which was, um, pulling the value pattern together. And how does that work in that dark, that lighter value, you can see that pattern that mid tone was, you know, the bulk of all of this. And then I came in with the darker values which, you know, basically come up in here and they connect all and mingle through all these shapes and it moves out. And that's basically the pattern. So if I were to draw that out and then you get in here with the dark pattern and that dark pattern is moving around from here, so we're connecting. I think I was, is how do how do they look and how do they connect? And that's how this one works in a very, very simple form. And when you become familiar with this stuff and you start working with it, you're gonna start to see ideas like this more quickly. So we begin the saying No, starting with pattern and understanding, just basic value patterns and stuff like that. You're not gonna jump out at you. You got to put the time and to develop this skill and to develop the vision of how this sort of stuff works. But the more you work with it, I guess what I'm alluding to here is the easier it becomes okay, and the more natural becomes. And you'll start to be able to take images that had terrible value patterns. Maybe like, for example, of the images. I take them out traveling on vacation or whatever. They're not that great. So the very flat that could have no light. They have too much light. It could be in the noon and not, you know, the shadows were very flat or whatever. I can't take those and work with him. So I had the ability to change landing t move things around so that they make more sense artistically and creatively. So if I want to move that into a painting, I know I can do that because I had the ability to see on this level, and that's what you'll have to do. And that's what this is slowly teaching you is. Don't ever look at your subjects for what they are in a literal sense. Here, you always want to think about shapes. How do the shapes look? Um, good, bad? Can I make them better? You always need to make them better. You always need to change them. How does that fit in my frame? And then you start to compose and design. You bring that together through patterns and then, you know, ultimately will come up with a painting. And the beauty of it is really knew, You know, Number two pencil in a piece of paper, you can get a lot done. OK, And then we start to feel more comfortable. We can start to do, you know, to patterns value sketches. You can start to do three value patterns, sketches things like that and start Teoh, dissect things a little bit more and bring them forward. The next thing you know, you got a really good skill there that's going to make your paintings so much better that they won't even start to look the same because you're you're not painting objects and things like that anymore. You're actually painting shapes, OK, you're painting patterns and that's where you want to be. Is an artist, Okay? You never, ever get locked in and focused on what it is you're painting. It's simply understanding the design, the shapes, and then making subjects work within that. Okay, that's what it's all about. 18. Final Pattern Demo With Watercolor: all right now, I will go ahead and do a finished painting based on everything we talked about in terms off design, composition and this really trying to bring these lessons together and keep in mind you don't have to use every single design element on every painting. You just have to make sure you have enough of good quality design in there to make it work . Okay, so you don't want to be dogmatic about things, but at the same time, you just have to know that there's certain things you simply want to avoid, and that's that's the idea. But I'm just going to lay in a base value to get this thing going. Eso really just thinking about staining the paper more than anything, and because this will be more of a rainy day type scene, putting down a warm wash here of your broker and a touch of new GAM booze in there. And that should, uh, give me something good to work with here. So basically, basically just kind of getting those lighter values in and stay in the paper, and that's going to kind of help pop. My color is a little bit down the road. But I think for the most part, that's probably all I need to do right now. I think what I'll do is I knew I want this vehicle here to have a little bit of, ah, a white yellowish glazed to it and just want to put a little bit of yellow and white wash Oh, my brush In that way, that's going to dry. Give me. Give me a nice little pop of color. They have a little more on that. The idea is, I dont come in too late with that and put it on when the painting is almost finished cause I feel like the edge maybe a little bit too dark. But it's kind of a key component here in the painting. I wanted to have a little more body to it than just the white of the paper, so that's gonna help build it up a little bit. Essentially. All right, now let this dry. And But before I do, even though I'm doing this in water color, I could do it in acrylics, pastels, oil, whatever. The medium doesn't matter now. Each medium has its own, I guess. Way of working. Okay, But for the most part, um, you could dissolves you stick to the design. It doesn't really matter what medium you work And because the design is what's going to make make it work. OK, and now this is going to get a light wash of blue. Just a tent that a smidge. I just lift a little bit of that. And let's get a little glow right in here. No work. And that's good, I think. Yeah, I'm just gonna let that dry it out, and then it will come back and add the next layer, right? Nice and dry. And now I want to start to think about those medium values. So I've got some neutral here on my palette. Friend, I just test that. Too bad. And I think I can go and crack in right in here. No, this part is fairly easy. But the main thing is, you know, you want to get I always get that feeling of. Well, you were after and course each medium is gonna have its own little challenges and technique in terms of getting everything down the way you want it. And with watercolor, it's no different. Um, the main thing with watercolor is you gotta work light to dark and which is basically what I'm doing here. The other mediums have a little more flexibility. So what is going to tilt the paper here so I can get this washed to run in a few different directions? No, but with watercolor, if you're not familiar with it, it does tend to dry a little bit lighter. So you always have to account for that. Which isn't easy. A lot of this I'm just going to let run into the street here. Now, this putting off camera, putting a little bit of Saru Lian into that mix. No, this really isn't about painting cityscape in water color. But for those of you that want to know what's going on, that's what's happening. You can see I have this on the big board. So I have to take my palate off of that while I let these things run. I get this wash in so still working with the neutrals and this putting a little more blue into this and now coming into across more here, we're leaving a little late value. On top of that, he was going to lift a little bit of this. That's working good. All right, Now this wants you got my wash to run over here on the morning. I didn't want that. Someone's gonna lift that. And I'm still a little gradation happening here and was going to drop a little bit of water here to just to soften this operating here a little bit. But the great Asian I use a little bit of ultra with these neutrals, and that's just gonna make it a little bit cooler in the foreground. And I don't help a little bit with keep an eye in the image and all that stuff. All right, so this is going to dry quickly. I don't want to dry all the way. Because while this is wet, this is where water color is unique from other mediums. Do you kind of have to do in one go? And that means you gotta work quick and you have to always work with the wash. The wash is really what controls the painting, controls the speed of everything. And I'm gonna let this dry a little bit and then I'll come back. We'll add the next layer to it all right, slightly damp, but, uh, still workable. So I want some ice off lines here and how starts you just add bits and pieces of some darker values on things happening in this building and again, very important, too, to get these things on quick with watercolor, because once, uh, once that dries, you're done, and I want to take advantage of this wash. While that's, uh, what's still wet and and just dropping in a few hints of detail and trying to get in the lost and found edges and different things like that going on and that should do it, soften those edges and put then kind of starting to blend that. Now I want to kind of bring that wash down and chew this lower part. Now I think all of this in here is looking pretty good. Well, I had that mid value here going on. I think I will go ahead and run some of these and here as well. Yes, you're changing those shapes a little bit as I go. So I'm not trying to get all those shapes the same trying to create variety. Basically, that'll work. All right, so that's all connected pretty good. No, start to look when that Where's that value going to go? And you know, of course, I did my sketches. I did my homework. So I know I want to start bringing those values down into this area, and they're going to get darker as I go. So I will go a little bit smaller brush here and amusing Sienna and ultra marine touch of crimson. So ultra marine blue burnt Sienna, touch of crimson and started. Leave that in trying to leave a few little specks here and there that original wash on help Just create unity in it. Basically now, just working that up into some of the building, just tying things in. So that's no different than what I did with the sketch. And now it is softening that dark right in here, and I will be fine. And now I can push this a little more blue too, so things don't get too predictable as I go around on this edge. Now I'm getting into figure I can't lay in a base value there. The umbrella number here we'll go a little bit darker, a little bit thicker and just kind of do a little bit of dry brush in that section there, and I'll just drive brush right in here. Now I can start to connect those darks, but this one clean my brush and just really just using water there to weaken that a little bit. Just a rough that a drop. I've got some hard edges right in there, so just a little bit of clean water and that's good. We left that a little bit. So all those darks were starting to work good with each other. I want to I can start to touch a few more in here. This I know it's still wet secrete a subtle line back to my graze. And now when I start to work with this foreground vehicle, Well, that kind of coming down here Yeah, well, that's what Pick a little crimson, A little bit of my cat red and canned. Let thes bling blend a little bit. I'm just going to remove my palate for a moment. I'm going to encourage a little bit of bleeding. I will do my best to keep you of all here with what's going on. We're well. How does clean water there to soften that edge and just letting that mingle a little bit until I figure out to do. But I got a little bit of dark here and just want Teoh as it starts to dry. Is it with a little more darker value that's gonna work pretty good. And as the start drives, I can see things were getting a little bit later so I can start Teoh darker value as well. And that was this is a slight. This is dry now, the window when you use a little bit of lavender. So that's just kind of a nice special color, I think works really well sometimes, especially for the like. When shields that are you want to catch a little bit of light you don't want. You don't want them to be too transparent looking much. Now I'm just going to smudge a little bit of those colors so it blends a little bit better , and I should be ready toe pretty much. But that dry, huh? But a dry and I'll come back. All right, let's have fun with some details here, and it's going to keep working with these neutrals. I mean, that's gonna be my dominant color. So when we talk about avoiding certain things, um, and creating variety color was one of them. You know, you want to avoid the same shapes and of course we want to avoid. Always avoid, um, put everything the same color and all that stuff, too. So indicated little grill or something on that one, right? I keep reminding myself, it's a rainy day Seen. I don't wanna go crazy with details here, and the idea is there's not really that much detail when it's raining. So all right, we have our lampposts, and here we have one up in here Now I'm going to drop figures in here. So he's a little bit of my okra around the Reds dance, maybe one over in here, spacing them out a little bit. And we get a little bit off orange and we can orange on this guy, that person, whatever it is no good back into my waits there neutrals and kind of catch the top with an umbrella. And I can start looking at, uh, the headlights. So maybe I'm there now, right into my gua shi Rather, too, and his pop a few highlights these figures well there. Now go with a gray, slightly warm and it's lamps in here. Thing that off and a little I light on a couple of these top of red here, made for stoplight. So maybe we got something here, put a little gam bows in this one. Yeah, go with my trusty darks combination of been using pretty much, which is my Sienna. All right, last little bit. So what this myself? Brush. See if we can get a soft What is going on here? We'll take tape off and see what we got. Right? So there it is without the tape. For the most part, I think you can see how everything works. Hopefully, And it's been keeping true to design. And you have to know that whenever you go to paint things always that could be a little bit more challenging. So sticking true, Aziz, best you can is the goal. And it's that we're gonna be perfect. That would be exactly the same. If you did your work in terms of your design, then you know it doesn't need to be perfect because the work you did is gonna hold everything together for you. So you have leeway have a little bit of wiggle room there that things will go well or perfect. Whereas if you didn't do any work we didn't do we think about your design composition, things like that? Well, then, then you're in a little bit of trouble. Then you don't have the luxury of making mistakes or not being perfect. Just a little bit of dark value to this car, but that's a wrap it up, All right, so again, a lot goes into design and composition. But when you start to learn these lessons, they they stick with you, okay? And as you become more experience, you work more and more with them. You'll start to identify how, what changes to make before you even start toe, pick up your pencil in your sketch paper. You see the shapes, you see the interlocking. You see the changes you need to make before you even start, and that's that's where you want to be. Okay, If we don't spend time on it, then New York continue to struggle with it. But if you start to invest now that I promise you your work's going to dis improve so much and it pays off again and again and again. And the more you think about it, the more you focus on it, the better it gets, the easier becomes and the results will be in your work. Okay? If you neglect it, then you will continue to make the same design and composition mistakes over and over. And chances are is probably the core of a lot of artists issues. Okay. All right. So anyway, that wraps things up. Thanks for watching. We'll see you next time.