Add Versatility to Your Creative Work: Let it breath with Triangles

1. Intro: Look at your hands, look at the leaves of the trees, the lines from triangles. This shape seems to be the quiet architecture of a world. We can also see that in a bird flowing or in the structure of crystals. But what if we could speak its language. In this class, that is exactly what we do. First, we put on our detective pad and discover them. Then we grab our creative tools. We create them first with the sound of a pencil, and then with the glide of a brush, we make illusions. We let a flat surface breathe with dimension. I'm Hadis Maliki, your host, and by the end, you won't just see triangles. You'll understand how to give them depth, and in doing so, you might just find a little depth of your own and the passes too. Welcome to the workshop and see you there. 2. Put on Your Detective Hat: Welcome, and it's now time to put on our detective hat. We want to do a mini project, and that is to find triangles in photos or painting. You choose a photo and a painting and detect triangles. I show you how to do that on laptop, on mobile, or you can just use print. I want just to do that. On laptop or computer, you can use a printer screen software called Light shot. Using that, we can take screenshots. Here I have prepared some of my photographs and famous painting, this one, we try to detect triangles in them. You can use your paintings, your photographs, whatever you like. Let's start by this painting, the milkmde by ermir. I press printer screen button. Then here we have tools line two and color to. Here I want to draw red triangles. I start by the largest triangle I can see. The milkmaid and the table here also, we can see a triangle that is made by perspective of the window and the entrance of the light. What else we can find? We can go more in detail. For example, here, we can see that our eyes transfers between eye, the elbow, and the milk. Also, a shadow here forms a triangle. We can detect another triangle in this shadow. Let's go further in details. Here, we can also see triangles and here also on the wrinkles of the skirt. Okay. Now we save the photo. Let's go for another photo. This is a photo I take from a cake, and here we can detect a triangle on top, and you can also detect the triangles that are not obuse because we know the base is also a triangle. What is important is that we train our eyes and our mind to detect these forms. Save this one also. We want to post this as project in the project section of the cast. Now this interesting photo. You see, we feel good about this. It feels like rhythm, like harmony. Let's find triangles and see what happens. Do you remember we draw triangles on the milkmaid? In that painting, we practice to first see the largest triangles and then go to the smaller one. We practice how to solve problems in larger scale and then go to details. Here, the triangles are at the same size, but they had the rhythm. They are all now toward the center of the plant. You see? All the triangles that we detect far, by far, are toward the center of the plant. Now a wonderful thing happen. Let's continue. Yeah, this one, Locate here. And now the triangles are pointing outward from the center of the plant. So we have another rhythm, another harmony. These harmonies, these rhythm, these patterns made our eyes please from the visuals. When we do this practice, we train our eyes, and we can use this in our paintings. In fact, nature is a very good resource to inspire us to get freedoms, to get forms. Let's go for another photo. This photo is me, and I posted it for free on a platform, and I noticed many people use that in their blocks that is so happy for me, that's an honor for me. Let's start by detecting small triangles this time and then go for larger ones. We can see a triangle between hand, between eyes, and between pencils because our eyes transfer on this triangle. Also the triangular shape of body, the shoulders and the waist and this triangle here, the negative space. And this photo is the one that I took in the park. I remember I was sitting in a corner and I was taking photos. I found this very interesting. This photo was also participated in two exhibitions. One of them was in London. Here we detect triangles, this one, this one, and also on the floor, the perspective gives us Triangle. Please notice that you should not make and detect many triangles in all of your photos. No. One of your paintings or photos can only have one triangle, and that is the one golden triangle. Hadis, I prefer to work with mobile. Can I do that? Of course, Hadis is famous for making classes that are easy for everyone to do, at least equipment needed. So pick your phone, whatever operating system it has, and open the photos and paintings. Press edit on your photo, then find a tool to draw over the photo, pick a color, and pick a line tool and start drawing triangles. Even one triangle can be the one that you have detected. Maybe one photo has only one triangle. That is also a good one. Save the photo and post it as your mini project in the project gallery. That's it. That was so easy. Are there any other option? Of course, yes. If you are interested to work with another software, for example, you like to work with Photoshop, at Photoshop. Okay, you can use that or Photop that is free online software. Or if you are not comfortable with digital devices, you can just print the photo or painting and draw by a pen or a marker over that. Do this and I'll see you in the next lesson. 3. Light by Pencil: Welcome back, and now it's time for your creative hats. In this lesson, we want to create. We want to create things with triangles. Here is a small sketch I have made, and now we want to perform it on this paper. In this lesson, we need pencil. We want to do the pattern only with pencil. Yes. And now, be with me, do the work, and let's see what magic will happen. Here, we want first to divide the blank page into triangles or squares, whatever you like. Just making triangles, and that is enough. We don't want to be very specific, very calculated, very detailed. No, no, no, draw triangles from the squares that we are making. Have you ever heard the fear from blank page, a blank page that we don't start drawing on that because we want to first plan. No, divide it and start and let's see what happened. After dividing the page into rectangles, now we put a circle or a better to say, a dot on each rectangle. You can put it exactly on the center of that. That is also a way of making shaves, but here, I put them very randomly. And then using a ruler or no, just by hand, connect the dot to the corners. Both ruler and drawing board hands are acceptable, both being so calculated about numbers and also make it roughly or acceptable. It gives the vibe. For example, here, I want to have a loose sketchy one. I use this method, and this is the last dot that I connected to the corners. What we can see, it just seems like some nails and some threads that are between them. Yes, it just look like a web. Our imagination can see it just like that. But now we want to add magic to that. We want to make it emerge. We want to make this paper waken up and not be flat. And the magic is that we use values. We want to add black and white. We want to add darkness and lightness. Here, I draw four squares as the reference. One of them has the darkest value and we cover it with black pencil. This is square, we use it as the lightest. But instead of cover it with a light value. I use dots. Yes, we can use dots. We can use patterns to add value to our reference squares. And in this one, we use the scribe doodly lines to add value. And for the third square, we use hashing or hatching. We use hatching and add some values. I want to add more, make it darker. So another layer of lines, and also we can go further and do crosshatching. This is crosshatching. So you see by texture, we made values. And this is our reference. We want to paint it over the squares. But how to decide which of them should cover which triangle. Imagine the light is on the top right one. So the light rays are coming from the top right. So the bottom triangle should be covered with the darkest value with black. Take your pen and cover the lowest triangle on each rectangle with darkest value. We are making the values from top. Our mind is seeing it from top. So I like the effect and the pattern in that there's no force to make it just be solid and very flat. No, these patterns are also likely and lovely. What we are doing is that we are trying to make what we are imagining come true. We have in our imagine that this can be a tree D shape. This can be a shape that light is from top right. So the bottoms are black. What our eyes are saying that is not yet that tree D, that not flat page. But we are creating our imaginative word. We are repeating that to make that. Or try to make our imagination come through, to make the imaginative world and the real world be the same is so stress relieving. We are so concentrated in the process. And now we go for the second value. Again, considering the light rays are from top, right, so the left triangle on each rectangle should be the third tone. That means not as dark as black, but also not very light. And here we apply our technique that was cross hatching. And for the less darker, we use scribbling, our second value pattern. And the top triangle. What pattern we should apply on that? Yes, we put our first reference for lightness, that is dots. You see in the first triangle, the three D effect is emerging. We go for the next one and apply cross hatching to this. You can also use a roller and using that is also a technique that you can control the hatching easier. We can complete this rectangle first and then go for other rectangles. But here, we can also first do all cross hatchings and then do all scribbles and then do all dot patterns. That's all depending on how you want to experiment. You can experiment both. I remember when I was in kindergarten, I wanted to do things like this, first one lines, then all the other lines. And our teachers was saying, No, it's not correct. And now, when I think back, think about it, I think we cannot say what is wrong and what is correct. We can experiment. When we do one rectangle, then one rectangle, then one rectangle, we are experiment with one small project and then continuing that. That is a way of thinking. And when we do all the dark triangles, then all the cross hatching triangles, that is also another way of thinking. That way of thinking made Ford make factories to produce cars. And we can experiment with both. Now we go for the scribble pattern, and you can do it with whatever order that you want. Just you can use a handkerchief. So when you put the hand on the graphit of pencil, it does not spread or smudge. If you have problem with the smudge, you can start from top and then go for the next row and then go for the next row. This is a technique to make the work clean. If you're working with pencil, of course, that's another story if you are working that on the wall with paints, and so on. You see what we are doing, we are repeating. We are repeating patterns. This repetition in nature is what nature is built on. Tessellation that is putting similar things together. We are practicing this also. Nature can inspire us. And now look at the pattern. We see triangles on top of that. These triangles looks empty. They look like the pattern or caught there. But our imagination know that they are part of the pattern. They are part of the shape, and the light are covering them. So we cover them with dots, and we make our illusion after the parts come true. Covering parts, covering surface with dots is also a technique in printing. If you Google or search or ask AI about half tone, that is the word. I recommend you search for that half tone printing. Also, adding points to painting or coloring by points is a school of painting that was called pontism that was about impersionism. In that school, instead of coloring a surface with green, we add yellow dots and then blue dots. And when we look from far, we can see green color. Okay, now the magic has happened. Now we can see how our eyes see the treed pattern. And we have applied four textures on the pattern. Let me zoom and you see the patterns. Our shape or magic has now happened. In the next lesson, we will use pains. See you soon in the next lesson. 4. Brush Awakening: Welcome back in another lesson. In the previous lesson, we use a dry media. We used pencil and we created this illusion. In this lesson, we want to try a wet media. Here, we use acrylic, but you can use whatever you have access to. You can use watercolor, you can use coffee. Yes. In my other class, we used coffee to make vintage paper. You can use that glass to make vintage papers too. Like the previous lesson, I want to prefer four values of color. Here we have black color and white color. By mixing them, we make four values of color. I add water to black color and mix it to make the brush move smoothly on the paper. Now it's time to make the values. I put black color in four places and then add different amount of white color to them to make different values. And you see how it's interesting by adding different amount of white, different values emerge. Acrylic paint is a water soluble paint. And using water, you can make it move smoothly. So here I mix black acrylic paint with white acrylic paint. I choose two types of paints that are both water soluble or water based. Here is the first value. Let's add some more white to that to make it lighter to show more light. We want to make an illusion with these values. And now we create a little lighter values. So we add more white to that. This is good. And for the very light one, I mix the gray that I had here. You know what? It's interesting that in real life, we had gradients of color. Yes. In real life, we had gradients of color. But here or in the previous lesson, we break that into four part. We break that as a step, not as a gradient. It's like that in real life, for solving the problems, we break that into sections and then we solve them. We make the gradient into discrete values. We use this technique in problem solving and also in mathematics and in everything. And that's very interesting. Here, I make three rows. Despite the previous lesson that we break the surface, the page to rectangles. Here, we make triangles. Here, we make triangles like this. First draw the horizontal lines, then select the dots. Here the same. You can make it make the pattern so geometric or no, put the dots in random places. After connecting that, then you put a dot on the center or no, not the center, just inside any triangle. And by connecting these dots to the corners, we form a pattern. Let's see what happens. Can you guess what D, what illusion of tree D we can extract and apply to this pattern. By far, it's just a web. It's just like threads and nails. But our imagination can make it Tre D. Try to imagine how you want to make the change. If there was a pattern in the three D real life, if there was a light, then what triangles were brighter. Let me here teach you a trick, too, and that is using a paper stick, paper blue stick. You can use that. And before sticking that on the paper, you stick that to the cloth, so it's not very sticky. So after peeling that off of the paper, your paper is not damaged. Here, I apply that to the parts that I want to protect them. Here it is paper. That's okay. We can be precise. But if you have a commission of performing this one on a wall, or you are doing that on a wall art, on a canvas, then this technique can help a lot by adding stick on wall or on canvas, we can prevent the acrylic to spread on places that we don't want. Now it's time to apply the values to the rectangles. Here, again, I assume that the light is from top right, but you can assume whatever you like. So we have different triangles and four values here. The triangles that are on the top side, that the light hit them directly should be lighter like this triangle. Gently apply the paint on that. The good point about acrylic paint is that it's water soluble, and it has a difference with guash. And that is when it gets dry, then it cannot be solved in water again. So the next layer will cover it completely. The layers that you put over each other will not mix together. That is the characteristics of acrylic. Each layer is its own layer. When it dries, then it won't solve in any water or any other color on top of it. Now I clean the brush, and we go for the next series of triangles. If the light is from top right and the rays are hitting the triangles from top right, so the triangles that are on the left side, these triangles might and must have the second value. They are not the brightest value, but the second value like these triangles that we are painting together. You see here, the illusion of Tre D is emerging gradually. It's like we are looking on top of pyramids. Pyramids of Egypt, have you ever traveled there? I have not yet. And I have researched, and I think The pyramids of Egypts are in different shapes, both having a triangle as the base, that means three sided pyramids and also few of them four sided. Also I read that there are eight sided. That's also interesting. Now let's go for the third value. The triangles that are on the left side of our pyramids. So the lights are hitting them a little bit. Working with wet media is having another experience. It's smooth, it's fluid. It has movement. And also, since the outcome is clean and it's near to the material that is applied to walls, so they are used in fo painting too. You see here, I am not very careful about the lines. They are exiting intentionally the borders. I want to show you how acrylic paint can cover what is underneath. Now, we cover these triangles that now they look like holes. But we cover that with the darkest value that we have made with pure black and look how different it became. Now our eyes are living. This is obeying the rules of physical world, obeying the rules of light. Look at here. I intentionally go outside and cover the stick just to show you that we can peel that off. I was telling you that we are applying the rules of physical world. That is how masters do. They did not color the surface. I'm talking about the realistic one. Not color the surface, but they applied how light would appear the colors. Now, I covered the sections that the color was outside the border. You see it covered the underneath completely, and we can correct anything that is unwanted. Acrylic paint covers the underneath if and only if it's dry. You should wait, and acrylic is getting dry very soon, unlike oil paint. Now I peel off the stick, and you see, this is a very powerful and good trick to do when you are painting on wall or a wall art. I really like the result. Look at the result. It's really like stones. It's like we have made stones. That's amazing. And this was the previous work. Awesome. Make these projects and see you in the summer blessin. 5. Sum-up & To Do list: How was it? Congrats creative detectives. I want to see your detections and your creations. Thanks for being with me up to here. We talked about triangles. We put on our detective glasses and detect triangles. Then we picked a dry medium and resembled crystals but with textures. After that, we picked a wet medium to make the flat paper get its dimension. You know what to do now. First, write a class review and your takeaways from this class. It helps others to choose the class, and it helps me in creating my future classes. Then share your works, detections, and creations as project, and then come to the discussion board and share your thoughts with me and other students. Can wait to see your projects and see you and then next classes, don't forget to follow me so you get notified of my future classes, see you