Elements of Design: Tools To Paint and Draw Anything

1. Lesson 1: Introduction: Hi everyone. My name is watching Michael and I'll be your instructor for this class on the elements of design. And elements of design, which I call they will have threes are basically the artistic concepts that serve as the fundamental building blocks for many art forms. And there are several of them. And most of them come in threes. And that's why we'll have threes is applied there. But what we'll be looking at is which one is which and how to apply them. We'll begin with line, and we'll talk about what lines are and how to use lungs to help us emphasize. We want to emphasize and communicate as artist. Then we'll talk about shapes, and I'll be telling you what different shapes are out there and how to apply shapes to your work. And what shapes are useful for which kind of work you'll be doing. And then we'll be talking about form. And we'll be talking about what's the difference between shape and form and how to communicate form and wife form is important. Then that will lead us into being medium and small, which is simply a way to communicate variety and give more emphasis where necessary within your work. Then that will lead us into overlaps and in overlapping shapes and forms we'll be talking about what overlapping is, where it can be applied and why that is useful as well. And that will lead us into simple versus complex, which is also another method of applying variety and communicating emphasis. And I'll be talking about what that is and how to apply that to work as well. Then we'll also talk about value control. And within widely controlled by looking at what volume control is, what values are, and how to use that as well. And that will lead us into color theory. And within color theory will be basically looking at what color is the most important things to remember when communicating with color. And that will lead us into Edge Control. And I'll be talking about the different types of edges where they can be applied and how that is important as well. Which will then lead us into composition. Tell me what composition is, the different ways composition is applied, and why that's so, so important for your work as well. And finally, we'll put all that together and look at how the old masters did it. Look at their work and learn a thing or two from now they apply these elements that will lead us into how the new masters did it. Took about how the new masters applied as elements. And what we can learn from that by looking at several biases that are alive today. And then that will lead us right into an assignment. Something just to help you remember all that we've done. So if that sounds like something you are interested in, see you in the first class. 2. Lesson 2: Lines: So let's talk about lines. Lines are basically marksmen on a surface with an object. If you're working traditionally, you can probably have canvas, paper as your surface. Or let's say you are painting copper. Like could be a surface. And then as an object, you could probably have a paint brush or pencil or marker and everything in between. Now, what that looks like is because I'm working digitally, it's going to be digital canvas and digital brushes. So if I go ahead and do something like this, what I've done here is I have made a mark, this surface, which is going to be my line with that said, Let's move on to the next statement which says that loans are used to define objects and provide clarity to the viewer. Let's go ahead and see what that would look like. Now, I'm going to make it very basic. I feel look at drinks done by nursery or kindergarten going kids. You realize that they draw their trees as something like this. That would look like a tree. And they usually saying is, if I do this then probably during the tree. Now what they've done is they've literally just used lines to define an object which is the tree, providing clarity to you, the viewer, by making sure that you do not mistake this for a bicycle or a book or anything else that isn't a treat. So basically what they've done is they have tried to communicate a tree to you. So that's what defining an object and providing clarity would look like. And basically this is going to keep coming up over and over and over. Because as you draw, you're going to progress into defining clarity in very many ways. But having a foundation of what it means is important. And all begins with the lines were using. Then I go out to say that lines can be thick, medium, or thin. What that looks like is something like this whereby we have thick line, this is kinda lines we should go over more than once. Then the medium line could be Something like that. Then the Finland could definitely be this. Now what's happening is it's aligned, going to be used in different places for different reasons. For example, if you want to, let's say create emphasis, you're going to usually use a thick line. If you want to just have a basic outline of an object, you could use a medium line if you want to let say, communicate details in certain areas, you could use a thin line. So it brings us back to the rule of threes again, very cool stuff onto this. They just have this kind of idea placed out there clearly because they're obviously very many other ways to classify lines. For example, you can have spiraling lines where you could have horizontal lines or you could have vertical lines. But the thing is, they can either be thick horizontal lines are thin horizontal lines or medium horizontal lines. Same thing applies to spiraling lines and even the whole idea of zigzag lines. They can either be one of the three, but it'll always bring it back here. So it's only fair that you understand these three then can use this opportunity to talk about CSI, which is simply three strokes that we can make using our lines that we have chosen to use. For example, if we say we're going to use thick or thin or medium, we're going to usually be making CSI strokes. Sense that if it's C, it's going to be this kind of stroke coming this way. This is going to be this kind of strokes going all the way around like that. So this is the kind of strokes that have this kind of see element to them as strokes are going to just be like to see strokes, but to the more flow or more rhythm. And again to be used in different areas. So usually when you drink something like a ribbon, just going to be a platelet. Very many other things usually find yourself using this kind of strokes. Even gesture drawing has a lot of strokes in it. Then I strokes, obviously like the name suggests. They're going to be skinny, lines going this way. Kinda lines going this way. So I struggled a bit more. Let's say more rugged. There's less to, let's say rhythm to them. But they're very useful loans to also remember. And so now you can tell that you can either make them thick, thin, or medium. But CSI is going to be very common and it's the lowest come up. And I think there's something very important for you to appreciate. So you can already tell that these are three. Detroit here, three. So you're going to realize that things are going to keep coming up in threes. And I think it's something really useful to keep in mind. And I think with that said, I'll see you in the next one. 3. Lesson 3: Shapes: So let's talk about shapes. A shape is a two-dimensional object created through line texture or color. What that would look like is obviously two-dimensional means you can only see from the top, there is no other way around it. And so if we're going to use lines, you could just look at the basic circles. You can create that with a line. So we've just used our C strokes all the way around to create this. So that's a line, fairly medium or thin line. So if we go ahead and use textures, textures can be defined using lines. But I'm going to draw kinda like a piece of hair or something that goes this way. This will work, this sort of done is I've used lines to describe the texture, but to help me communicate to shape. The shape that I've tried to draw is something like this. But some huge textures to kind of express that loosely. You can come back and the whistle, you can just go ahead and refine it just to communicate, that'll be better, but you get the idea. We can use textures, not going to be very common, but it's something that is worth considering in the sense that whenever you get the chance to lead this, you will remember that I can also use textures to describe what the shape is. Then we also have color. This is quite straightforward when it comes to Kyla. Only need to do is we have color there. And that right there is a shape. This is going to be very common if you're, let's say analyzing paintings. When you're trying to understand the shape language that an artist used, even if you're trying to let say paint, subject yourself, you realize that you can break down different areas of the face if it's a portrait into different shapes, for example, the shadow shape than the shape of the highlight, shape of the mid tones and all that kinda stuff. So this is where culture comes in. I think there's something really useful to consider there. Then when it comes to the next statement here, and go ahead to say that shapes can be geometric. And geometric shapes are basically irregular shapes that have some kind of mathematical element to them. So obviously we know what these kind of shapes are going to be. This is going to be our circles. Just clean that up there. And then our triangles, squares have the oval there as well. Kind of a cone there. Something like this. So what we've done is we have drawn two-dimensional shapes that are geometric. And you realize this is basically what, what is taught in kindergarten and all that. Now it's very fundamental, but it's going to make sense, eventually will have put all this together. So when it comes to organic shapes, we have shapes That's a free-flowing. So you can choose what that will look like. The limit is your imagination. Clean this up here like this. So basically this is what a free-flowing shape will probably have rounded edges, sorry. Probably how rounded edges? And we'll definitely be very, very far from geometric and regular or mathematical. So here we have geometric shapes. We have organic shapes. You want to be doing so many geometric shapes, but every organic shape for some reason or another, can be broken down into one or two geometric shapes. So it's important for us to know that, to appreciate them together. So the next thing I'd like to talk about is the basic shapes. These are the shapes that make up very many of the artistic design that we usually do. So we're going to say, is, these are the basic shapes from which many of the objects in artistic design are derived. So the first one here is a square. So we have squares as four-sided. Something like this. Equal signs. An essay here. It's squares of stable. So could put an S there. Then triangles, three-sided. So you could put active than circles a peaceful, so could just draw a circle. Put a PDA. So I go ahead and say that these shapes are used to communicate these different feelings respectively across many artistic disciplines. So you're going to notice that very many things that are considered to be a stable or foam or balanced placenta will always have an element of squish them. Even if it's not expressly four-sided. It could appear in different forms such as something like this, whereby obviously this is cleaned up. But it's trying to just show you that this is a very stable surface, something like this. Just trying to tell you that this here is a very stable surface of this here is a very stable object, simple like that. But at the end of the day, it's always going to come up to the full idea of this year is stable. And you'll always see an element of a square box, a cuboid, very similar. All coming back to, it began with a square. Then when it comes to triangles and activity, you're going to find a sense of dynamism will always be illustrated by triangles in one way or another. Such as something very useful for us to keep in mind. So triangles usually can come up as something like this, showing only the two sides. But this angle is important because it helps us tell that this is sense of movement, dynamism, or activity going on there. This is how our triangles can usually appear. And then listen a little bit coming up in different forms. But for the most part, two sides in our shop, at least two sides in one way or another. You'll always be able to identify them. I think that's something important for us to appreciate. Then when it comes to circles, obviously, a sense of peace, sense of gentleness and all this kinda stuff can be illustrated using C curves like this. So for the most part, even if it's not entirely circle, tool usually have C curves to it. And you're going to find that many of the things that come with seekers are one way or another. Gentle, elegant, peaceful, the carry that kind of attributes. So it's going to come up in so many ways, even if you're looking at architecture, whenever our structure is going to be sent around, Let's see, some kind of gentle aesthetic. Usually there'll be a lot of rounded edges and cubs and all that. If it's more of an aggressive one, usually there'll be lots of sharp edges. Triangles will be very common there. So I just wanted to give you that sense of idea about how everything will begin with triangles, circles and squares. And where these triangles, circles and squares come from is shapes which are geometric. So with that understanding, I think it's nice to end here. And I'll see you in the next one. 4. Lesson 4: Form: So here we are talking about for a full is a three dimensional object. Now we move from 2D to 3D. Now, 3D means you can see for more than just one side. We can appreciate more than just the length and width of it. We can appreciate its height. So here we are. We have formed as a three-dimensional object. And then we're going to say here that phone can be actual, such as sculptures which you can move around, touch, feel, and all that kinda stuff or form can be implied such as shapes and perspective. Because here we are going to be looking at two-dimensional art for the most part. We're going to be working with shapes in perspective as our full. So we're going to go back to our triangle circle again and our square. Okay? So what you're going to notice with these, is this a two-dimensional because Euler can see is one side. You can turn it around until you have to add some of the side to it. Which means we're going to have to see the height of it. And a very interesting way to see the height of it is by seeing in 3D. What's going to happen is we're going to have these shapes here. Coming from these three shapes. Basically, we have a cone there, which is going to be characterized by an ellipse, then a triangle. Now, that would look like something like this. Obviously there'll be that side which you cannot see, but it's important for us to appreciate that it's there. Then maybe we can just go ahead and make this a dotted line. Yeah, So that's it. We have a cone. Then we have a sphere. Spheres that basically circles. But you can't illustrate them unless you render them, which we won't get into now. Then we have box. Box is basically a square. But in 3D. So one easy way to draw boxes is simply to remember that parallel lines are going to be of much help. So we'll just go ahead and draw these lines. It's okay for them to cross. The end of the day. What's important is you made sure that you drew a box. So these loans are going to be parallel to one another. So find the parallel line that side. Then find the parallel line this side. Send that there. Then just clean up the edges. You have your cell phone box that is quite believable. So what we've done is we have simply just seen these fundamental shapes we talked about in 3D. In other circles, they're called primitives. These basic forms can be called primitives as well. So whenever you find such a, such a phrase being used, do not feel intimidated. They refer to just these. So yeah, then we have our cylinders. And obviously cylinders are simply rectangles and ellipses at the top and the bottom. So we can disrupt this around that. Something like this. Then clean that up there, then make this a dotted line. Down here. Yeah, So that's it. We have cylinders. So these are in 3D. And obviously if you want to stress this a bit further, everything else has to appear differently. But maybe we can talk about, let's say a prism, which is going to be a cone, but with a different kind of bottom, likely either a square or another triangle. But we'll just go ahead and drawn like this. This should be enough to give us the basic idea of what a prism would look like. So here we are. Now. This is not quite where we go ahead and appreciate what we can see. We can see one side, but then there's a side at the bottom which is number two. On one side, two sides, definitely at the bucket. It's going to be something like this. Something similar to that. So obviously we can tell that there is a third side over there. Then a fourth side over that side down here, which is 5123. Then we have a sign at the bottom. And all these are the signs we have here. One side which is going to be a rounded side. Then we have another one up that another one down here. So this could be 23. But then here we have only one, which makes it different. So we can appreciate from in that sense. And if you look at these, it basically illustrates the same idea of this is a rounded edge. And then this is also a rounded edge. So we can appreciate their movement around. We're going to round. Then this here moves around that way than they seem moves around but there's a top and bottom. So yeah. So it's going to be these basic stuff coming from these basic shapes. So I'm going to mention here that ribbons are simply bent rectangles under dimension ribbons here because it's important for us to pay attention to them considering how useful ribbons are in the long run. For example, if you want to draw hair, you're going to need to understand your buddies. So what I'm going to just go ahead and do is just show you what that would look like. Okay, we have a rectangle here. So that's okay. But if we go ahead and bend this rectangle alternate to round this way, what would that look like? So maybe you can just go ahead and do something like this. Then what's going to happen is long and it's tender on that way like this. It's good. Go ahead. We'll continue this way like that. Then could do something like this. So what's happened here is we have literally turned our rectangle around. Then we can just clean up this overlap here. And once we have for ourselves as some kind of rebel or some kind of illustration of what a ribbon would be doing. And obviously there's so many other ways, but starting with an S curve is a nice way to begin. Just to understand how ribbons work. Then I can just go ahead and do this as well. Yes. So what's happened here is we are simply trying to see what happens if we bend rectangles. Other people call them arrows and all that. But at the end of the day, it's basically just a bent rectangle. And the way you see it is going to be important because when you are, let's say trying to draw hair, going to draw one strand at the time of green top to group they have, then just break off the edges of the hair to get the whole idea of what the hair is doing. For example, if we had, let's say, strong leg comes this way like this. You do notice that this comes from the head, comes and then bends and unfolds, then breaks up here. What we're gonna do is basically break off those edges. Then continue to break off those edges until we are somewhere close to what we're looking for, which is a believable representation of hair. There's a more refined way to draw this, but I just wanted to give you a basic idea of what I'm talking about. So yeah, no one has to know that you began with the rebel, but at the end of the day, because you began with the ribbon, it's going to make it easier for you to know how to draw the hair. Remember, it's always brings us back to the square. So it's something very nice to appreciate that. And I can also go ahead and talk about one more thing which is going to be contour lines. If you have appreciated the three-dimensionality of this forms, you're going to go ahead and also appreciate the whole idea of contour lines. Because control and to basically lines that are wrapped around a phone. For example, if I just change the color there, contour lines are going to go ahead and wrap around here this way, and go around that way. So it's like, let's say tire rubber bands around a foam. Rubber bands around a form like this. So the contour lines of, let's say a box are going to be this way, that way, this way, coming back this way, just wrapping around that. So the ones of Corner going to wrap around that way, we look cool. And I wanted you to notice because when it comes to, let's say, foreshortening, you'll need to understand how contour lines work and their fleet to be able to implement foreshortening. So maybe if we could show you something really cool here. So this here is our cylinder that's been wrapped around by thinker ring. And it's trying to show us what happens to the ellipse as it moves down below eye level. So I level which is here, you can see the ellipse as a flat line. But as it moves all the way down the ellipse, that's to get wider and wider, and wider and wider. As it moves down, gets wider. And you can tell that it becomes a circle at the very bottom. Now what's important for you to notice is if you look at the corners here, it's important for you to be able to represent this very carefully because if you do something like this, that is not an ellipse. So you realize that it's something like that. That's a much more believable edge or corner when ellipse there. So it's important for you to notice how all this is happening because as this turns away from us, it becomes wider and wider and wider. Same thing applies to, let's say if we had a cone upside down, create a cone, let slam on one floor like this. And it was wrapping around this way. We'd have the same effect. So I just wanted to show you that because it's important for you to have an idea of what that means and how we're going to play it and feature. Because if you understand contour lines and these right here, these rings here are contours of the cylinder. It's going to be easier for you to represent foreshortening and everything that comes around. That whole idea of expanding your knowledge on the firms that you've studied. So I think with that took an end here. And I'll see you in the next one. 5. Lesson 5: Big, Medium and Small: So here we are. We're going to be looking at big, medium, and small. Another three here, you can tell really cool stuff there, okay, so here we are. The best way to communicate variety is to use the rule of big, medium, and small. This shows the difference between forms and the composition is done to prevent the viewer from being distracted while trying to figure out what to look at, which makes for a more interesting artwork. So basically, variety can also mean, let's say, a more interesting artwork in general, or contrast, or just something more entertaining to look at. And so it comes in different forms and is used in different ways. But the end of the day, it's always going to be, Let's have something bigger than the other thing that a frosted prevent ourselves from not having a focal point or the most important thing to look at. You're going to realize that for many, let's say for many forms of drawing, this going to be this kinda thing whereby you have the big picture, the medium and then small, big, medium and small. Then. Now very interesting way to look at it is if you're looking at overlaps whereby we have these here as our big, this here, as our medium. Then this right here is our small. Then we can go ahead and clean up all this. The same way we've been doing from the start. Drawing out to the lines helps with maintaining focus on the final article instead of being so careful with the present that you end up messing up before you actually get to the end. So it also saves time. I think it's something really useful to practice. But it's also very subjective thing. But anyway, here we are. We have big, medium and small. And you can tell that smallest ahead, medium is in the middle and then big is at the back. And this whole idea of separating them this way helps also in communicating perspective without all the line work that is needed that. So I think it's just really cool to talk about that. I wanted to mention it because it's going to come up quite a number of terms. And you didn't notice we have a couple of examples I want to go through with you and we'll discuss that in more detail. But another way you could see big, medium, and small is if you have something like this and this is just a rectangle, it could be a wall or it could be a piece of fabric. You're trying to design it. You're going to find that many instances, it's always going to be broken down into something like that. Whereby this in the middle is the big, That right there is the medium, that right there is the small. For example, if you look at patterns and on houses or buildings or something like that, usually there is a sense of distinction in the way they are represented. Or patterns and dresses or fabric in general. Usually it's not like as though everything is the same size. Let's center dynamism in the arrangement of the sizes also helped in communicating more beautiful article. So many artists usually use it as well. So I think with that said, I can just go ahead and show you something really interesting about the golden ratio that I think is also useful for us to appreciate. So when you look at this whole idea of the golden ratio, fondness and Internet onto just show you something really interesting here. So what's happening here is that these are a couple of boxes and all that. It's assuming they're a bit. So what's happening is if you look at the bigger box, I'll just go ahead and change the color there. If you look at this one here. This one here could be our big. Then this right next to it could be a medium. Then this down here will be a smooth. Very interesting. If you shift from the bigger one and come down to this one here. You'll notice that the gray area. This here is going to be big. Then this right here. It's going to be on medium than this here, right there. All of it basically is going to be small. That's gonna be our small. And then breaks down all the way until you get to the focal point, which is right in the center there, right there. Because now it's going to happen, is this here is going to be the big then that area that it looks like a kind of a block. But they're up there so that there is going to be the medium that right there, which is a very interesting green. It's going to be small. So even in the Golden Ratio, big, medium, small applies. If the golden ratio is something very trusted over the years, then surely you can believe that it makes a sense of defending the big, medium, and small concept. So I think that's it. I can just go ahead and show you a few things that I find very interesting here. So here we are. We're looking at, first of all, we have an example of a portrait by photographer. So when it comes to photography, even this applies. Let me show you. So this here is going to be the big, the hair could be the big than her face, could be the medium, and the fishers could be the small. I'm sure he was deliberate about making her hair be that much and then allow the rest to just fitting like that or else he would have added, let's say, some flowers in the background. Or maybe he would have made the frame a bit wider. But he chose to have a decently expressed like this for a reason. So if you're breaking it down, it could be something like that. Now, same thing applies to every portrait. But you can draw with something similar to this. Usually you will have some elements being bigger than others. But obviously the hair isn't always the big, but just the whole idea of this progressive breakdown of if you look at that ratio, 1.1 and all that, it's going to be very expressed, very clearly detailed if you break down things in big, medium, and small. Now another thing here is if you look at this here by Maria dm over very amazing artist, you're going to realize that let's just look at the face. For example. The features could be the medium, the shape of the face convenient big. Then this tiny details here could be small. And then if you look at the hair, it could be the big. Then the flower could be the medium. Then the E-ring here could be the small. Even this can be the small. But you realize that she is expressly made sure that flowers or not this big, because now that would be really competing for attention. So you do notice that even makes it easier for us to know what to pay attention to whenever we're looking at artwork like this. So if we look here, we have SpongeBob. He has no need for introduction. So here we are. And you realize with him, what's going to be very clear is that when it comes to the character we have grown up seeing, we have the Big Bang, the shape, which is the box shape than the medium being always are the features, the legs and hands, me the mouth and eyes. But then when you look at the teeth, the teeth are very deliberately made small. So he's the nose. Because if we had the teeth coming this way like this, then he'd be a very different character. If we add the nose coming all the way this way, it could also be very different. So there were quite deliberate about making sure that these two features, that small same applies to the size of the holes here. It's no mistake that we have them as medium and small. Medium and small. We have those kind of tiny. You see, there's a progression in the wavelength gets smaller. There's a pattern at the fallen because if all of them are the same size, it would look like something else. But they are deliberate about making the holes a certain way. So yeah, something really cool to appreciate there as well. Then we have miss my data from alkane. This is a sculpt by JVM Denver 3D sculpture of the character. What I want to just appreciate here was one idea of how if we look at the face, the features, like we said earlier, could be the medium. Then even is a medium and the earrings could be the small. Freckles here are small details. Very useful. The way they broke that down, then if you look at the hair, can break it down into two pieces. This could be big. That could be the medium. Then these accessories that wrap around could be the small. Otherwise, if this here was really wide all the way up to, let's say this way, then it would be competing for attention. But they were deliberate about making it that small for a reason. Then here we are with another character from Seoul, sculpt buy goods. Then you realize that the shape of the head is obviously the big. Then the noise is the medium, the mouth is medium. Then the ears and eyes are slow. Very deliberate about the same. Honestly that the glasses are also going to be medium and so is the hat. But just wanted to show you how the owner that principle here as well. Then finally here we have a painting by Michael focus. Now what's happening here is we have a spaceship. And something very interesting about this is that you can choose how to, how much detail you want to go to in expressing this big, medium and small idea. Because like we've seen with the golden ratio, this is something actually happens. So what we're going to be doing here is I'm just gonna show you how one way of doing it, for example, we can break down this shape here as our big. Then this here can be medium. Not that can be small. Or we can just say this here is big. Then these two are medium. Then we can have all these are the tiny details, this tiny details as our smooth, shiny details, but it's the small. If even break it down further, you're going to realize that if you pick up only this piece here as the big, then the shiny details as the medium. You're going to find that there is small. All of these are going to be the smallest. It goes all the way, all the way, all the way until you're comfortable with whatever you're seeing. Then if we look at, let's say the whole frame altogether, we have the spaceship as the big, then maybe the moon, while the other planets in the background is the medium. Then I think the stars could be the small, or this here could be the small. The darkness. Space. Because it looks like the moon occupies. The moon of the planet, occupies more space than the darkness. So yeah, basically that's what the big, medium and small is all about. I think it gives us a basic idea of how it's applied, where you see it and why it's important. The golden ratio box it up and it helps from one variety or contrast. And these are just some simple ways of how it's been done. We'll be seeing a couple of other examples of masters and how they did it that way to help point us in the right direction. And with that said, I'll see you in the next one. 6. Lesson 6: Overlapping Shapes And Forms: So here we are with overlapping shapes and forms. And as a natural movement into the next level. What this helps us do is make sure that it helps us show dimensioning artwork. And it's one of the most important things because it's the secret to foreshortening. So overlapping objects helps us show objects which are nearer to us, an object which are further away from us. So maybe you could just go ahead and look at the shapes we talked about earlier. We have our square. We can have our circle here. Then we can have our triangle there. Now I'm going to go ahead and just clean up the overlaps there just to make sure we see which is the head, which means behind. And just see how best to communicate that. So if we have something like this, you can agree that the triangle is ahead. The circle is right behind it, and then the square is right behind the circle. So that, that whole idea of overlaps is very well communicated there. And so remember we talked about the squares, which came up with this very well illustrated overlapping concepts, something like this. So we talked about this earlier in the big, medium and small conversation. And all that helped us do is appreciate how we can place one object in front of another. And bye nature that helps us tell that one is further away from us and one is nearer to us, even in aerial perspective. If you noticed aerial perspective, which is usually what helps us appreciate landscapes, you're going to realize that each layer could look like one plane and another plane would be behind it and another totally behind it. And then the transition between them would help us appreciate how far one inch from another. But at the end of the date or it looks like overlaps. This is another way to look at overlaps. But all overlaps are doing is just telling you that one is on top of another. Another one is behind it and another one is behind it. So I could also just show you Very cool illustration that ISO by Will western. Western is an amazing artist. So he did this when he had a two-sided rectangle there. Then he had another rights ahead here. Then this side was flat and this was coming from the bark and kinda perspective. So you had this kind of thing going on here like this, trying to show that this was a box and perspective. Then he had now this one here, the very front. Communicating this kind of idea. Something like this. Choose that and just make this parallel. Yes. So you had this drawing where he had three boxes if I could call them. And all that he was trying to say was we can appreciate how fun one is from another. And also appreciate the site we can see from each simply because of overlapping one over the other. And the use cases for this are going to be very different based off of what exactly you are trying to address individually. But basically, I wanted to just appreciate this as well. Because I find it very interesting that this here is at eye level, as you can tell. And for this one we can see on top of it. So it's this kind of stuff whereby we have one side to science than 123 sides. Very cool illustration of a very decent summary of shapes and sizes and all informed and also overlaps. So just like that, I want to show you what that would look like. Now, remember we talked about contour lines. If we had ellipsis, then the ellipse gave us some kind of cylinder. Then we'll have control land the wrapper on the cylinder. The other way. Like this. The way that way. Yeah, something like that. Why this is important is because I can show you this. Notice with this image here, we have an arm. And this arm here is obviously a cylinder. If you can tell, because it's three-dimensional. And then now this here is the contour line that wraps around it all the way to the other side? That way. Yeah. So as it moves around, obviously this remains the same. But as it moves around, going to realize that this cylinder here, green stuff pointing in different directions. But then this is going to have to come this way. This will have to come this way. And that will be like this. So if you wanted to communicate the sense of foreshortening, simply have to know where this ellipses, that ellipse and how do you connect the two? Same thing applies to here. If we had this, we know this ellipses right there. There's an ellipse there. Then there is another ellipse around here where the wrist is. Then there is this. If we had the first ellipse and we knew that the last LSB for the transition is this one. Connect the two like this. Then we know that the next election is probably going to be that one. But then it's gonna be somewhere up here like this. We can now know that if we connect this like this, then we can just go ahead and show this. Then we just have to find a way to put these two together with all the details of the muscles. Then we'll have a foreshortened hand. Same thing applies to here. You just need to know this ellipse, ellipse there and how those wrap around connected to. Then you have yourself a foreshortened hand straightaway. So I just wanted to show you how overlaps help us communicate. Foreshortening and Y overlaps are important. And we'll be seeing how useful this is when you look at the examples from movies and other artists in the future. So I think with that, we can move on to the next one. And I'll see you. There. 7. Lesson 7: Simple Versus Complex: Here we are looking at simple versus complex. So the whole idea with simple versus complex is just like you hear it. It's one of those very basic principles that's meant to just help us appreciate how a sense, a variety can also be implemented in our artwork. So he's saying that this is also a great way to show variety by alternating the simple elements against the complex elements in an artwork. So when we say simple, we simply mean less detail. When you say complex, seem to mean more detail. So one way to maybe basically illustrate that if we had the gentle scientist's way, then we had more activity there. Could call this the simple side. Then it's going to be the complex side because there's more going on here and this is just a gentle lane. So basically this is what simple West complex would look like. In the most simple sense. There will always be the opposite of alternating simple against the complex. Or just helping you appreciate how one side will always be. Let's say, less, less noisy than the other. In the sense of how much you doing there. Well, how much a train to apply that. So without further ado, let me just show you a few examples from other artists that I've seen that can just help sell the idea a bit more. So here we're looking at drained by t and z is a painting by TMZ. So it's just sending a bit there. What's going to happen is simple side. Let's assign that simple. Then there's more detail. This side. There's more activity going on. Her legs were in this whale is the handle of the sword is a lot of work. This sparkles and her hair is doing this kind of stuff. You can tell it's moving this way, but then I'll have this side is just gentle. So simple, complex. You can see the alternation there. Then with this here, we have simple. Then obviously your hand is here, then this kind of stuff, then complex. So you can tell the whole alternation of simple versus complex. Then with this here by Andrew, you realize that here we have less noise. Simple. Then we have a gun here. We have accessories here. Another accessory here we have this, we have a gun this way. So you can tell that he balanced out where there's more activity going on. Otherwise, he would have made him look this way and made him look that. But he didn't do that. He was deliberate about it. Something really cool to appreciate. To finally with this one, we have study to concept study by Dennis Chan. With this, there's so much going on. But if you break this down, you're going to realize that there is more detail on this side of the room. And the reason this side of the room, simple against complex, very deliberate. And it always goes down to even more detail and more detail and more detail. So it's just like how we talked about big, medium, and small, going all the way down to until you're comfortable. Same thing applies to simple versus complex. But in general, it's going to be something you're going to notice in very many art forms. So I just wanted you to notice how they have used it and we'll be seeing it in more examples. But I wanted us to appreciate how it's very clear in these few examples here. Because you can tell that there's a poster here, there's another poster here, and there's so many posters on the walls. So much these old TVs and cameras and stuff and always kinda stuff here, planets and always. And then he has just TMC to run a bag with a box here and then just a few details. So you can tell that there's more noise here then the wrist is side. And that was very deliberate. Otherwise a frame would've captured him somewhere here. But they trashed the place them all the way this side deliberately. So I just wanted you to know that you might look at this as well. It's obvious, but there is a sense of thinking behind all this. And I wanted us to appreciate that simple versus complex is going to help us in the future. So as I said, fundamental building block, meaning people use it even without knowing that it's what they're using. But it's going to be very useful to know that. Okay, so simple versus complex is important. This is what I'm supposed to do here and to help in the future. As we analyze more artwork, we see more artists use it. You realize that it's important to appreciate this and use it yourself. And I think that's just refreshing. So with that said, I'll see you in the next one. 8. Lesson 8: Value Control: So let's talk about value control. And valid control here is something that's going to have another three in it. We have light, medium and dark. Gonna go ahead and talk about what that is. So here we are with the illusion of dimensionality can also be achieved through contrast by controlling how values of light and shadow effect a surface best and the lighting condition. Let me go ahead and explain what that is by looking at this illustration here. Then what's going to happen is if our light source is directly parallel to where the highlighters, we have a light source that should be somewhere this way, coming all the way down onto the sphere. Now when it comes to the sphere, going to realize that we have what we're calling here, the highlight. Then we have the light area. Then we have the halftone render. Then we have the core shadow, then we have this shadow, then we have the reflected light, because light bouncing off the surface in which the object is. And we have what we call the accent. Download. The duck aspire to the shadow really. Some other, then we have a cast shadow, the shadow that the object casts on the surface. Now, this here is basically how everything is affected by light. We have a light source, then the lightest does this to the object. And then the object casts a shadow on anything that is behind it or below it and all that kinda stuff. This is also very nice illustration of what that possibly it looks like. He's actually going ahead to Joe for us, some kind of bar to illustrate that even more interestingly. So what's happening here is we have the light probably coming from this side. So we have the highlight. We have the mid-tone, which is somewhere between half tone or light here for that. Then we have the halftone somewhere there. Then we have the core shadow. Then we have the reflected, the reflective light. Reflected light, reflected light, very much the same thing. But you realize that this is light being reflected from the light source, bouncing all the way back to the object. So this is a very interesting thing. So what we're saying here is that we can control contrast by managing the wave values. Being seen best on the way light is affecting our object. So here we are with light coming, bouncing off a surface, hitting an object. Now we have to let say, render the object or render that are objects. And so we have to make sure that we use values. What are we going to use valleys for? It's the communicates. This relationship between the light, the object in which the light is being bounced off, the object being leaked, which is this here. So what happens is we have value scales. So here I say that for simplicity's sake, we can use a three or five value scale. So the whole idea here is we want to just group our values. So that's why we have three or five scales here. So what that means is this here is what we call a value scale. It has the light, which is these three here. Then it has the halftone, which I usually call medium. The medium comes from. Then we have the duck, which is the dark right there as well. So we have grouped our values into three, which is important. Now, beyond grouping into three, we can go ahead and group each of these three into one. If we wanted to, let say, simplify this to another level because what's happening here is we have a nine value scale here. What usually happens is you can break them down until we have five. Because there's usually five value scales whereby we just find a way to simplify this into one. Then we can just simplify this here into one. Then we can have another one here, then two from the side. But all that is done by artists based on how they want to communicate what they're seeing. For example, if you look at this here, you are going to need all the ten valleys, all the main valleys. You'll probably need one for the highlight. So you need one here, two here, three here, four here, and then find C phi value scale. But then you could realize that maybe I can just make these 21. So I can eat just one for the highlight, one for both of these hops and a mid tone, that's two. And then maybe one for the core shadow and one for the reflected light, which is four. Then maybe you could just go ahead and make sure that the reflected light and the mid tones are very much similar. So that makes it three at the end of the day. So it's just about you knowing that what I'm trying to do is communicate what light is doing to an object by using values. There should be a light side. A halftone side and a dark side. What does have to mean basically means that we are moving away from the light and into the shadow. But we're not yet at the shadows, so we're almost get into the shadow. Then. Once we appreciate that, then we can tell that once we get to the shadow there, then we can just apply that shadow value. Now the thing that separates oneself from another is what we call transitions. Transitions. Very interesting way to appreciate them as if we look at the video where we talk about edges, we talk a lot about transitions there. So what's happening here is the transition from one violated another can be defined by the way we control our edges. For example, if we go ahead and appreciate what's going on here. Going to realize that with these, we have, let's say one value here, another value there, another one there, another one there, then another here. Then we have one value here. So in moving from this value, which could probably be a number one, then we move into a number two or three. Then we move, let's say this could be number two, this could be number three. Then here could be a number for best off the scale. Then this could be a number like six or seven, which is six. Then we come all the way down to number four, then come all the way to a number like three of that something. So what we're moving, what we're doing is we're moving along here. I'm transitioning. Now what we can do here is notice that we know the values for these. Now that we know the values for these, how do we move along them? We call that edge control. And as you can tell here, it's a gradation of movement and you can't tell where one ends and one begins because of how soft that transition is. It's a soft transition that is achieved by either blending or smudging, which is what we call H control in the sense of the word. And basically that's it for this. I just wanted to show you what that would look like and what were three or five value scale would be achieving. It would be just simplifying how we go ahead to represent these. So the best way to learn this is by literally just see more and practicing more. So get a bunch of spheres, bunch of polygons, a bunch of boxes, and just render them. That way. It's going to help you build the muscle of discernment for this particular thing. So let me just show you something else before we move on to the next step. So here we are. I'll just go ahead and clean this up. So what's happening here is I have two images. The first one is a study done by someone. The second one is of the reference image. Obviously there's a few differences, but for the most part, it's quite well illustrated. Because I mean, look at this. This is, we have a wireless scale here. We have, let's say this could be 123456789 value scale, breaks it down into 12345. Phi value scale. Yeah. So what's happening here is even if they've broken it down into five values. This here is a box. Yeah, we talked about the boxes. So what he's done, what she's done is simply broken this box down into 123 values. Obviously this here is the shadow cast by the sphere on the box. So that's a, it's close to the one. Maybe it could be another value there. But basically what I'm trying to say is as simplified everything into just three values. And then try to ignite this value and that value for the shadow. Basically trying to communicate that. I understand what I'm saying and I'm choosing to represent it this way. So what is done here is, is broken it down into values. Trying to communicate what the light source probably this way. Yeah, the nicest could be this side is doing to everything. Then this here is the sphere, broken it down into these. Remember we talked about with visa, cost Shadow, mid-tone, half-tones, highlight, cast shadow there and all this kinda stuff there. Can find that this is simply what's going on there as well. Very similar, but you can tell that what is done is, even though there are nine values, you can see so many of them has chosen to make it five. For simplicity's sake. It's what I've seen. For simplicity sake, we can use three or five values. Obviously, three is a bit too stretched, but then you can tell that there is a light side which is yes, there is a medium-sized which is probably this, and there's a dark side. Same thing applies to the light side. For here. Light side, medium side, and a dark side. This could be the medium side as well. Light side. Medium-sized than a dark side. Three, again, I just want to get to tell that in the whole spirit of controlling violence, we shall always have to make sure that we break things down into what is light, what is medium, and what is dark, don't get carried away by so much of the details because obviously there's so much going on. But just choose to see only what is light, which is medium, and what is dark. And then go to your Wiley scalp and look for what is the best thing that we'll communicate. That relationship is this light. I should pick number one place that there is this medium than number two would be good. Number three would also work that dark. Then number five or number four can come there. And someone should do that. Then you break it down into values. Then you now realize that now that another wireless for each of these, how do I get that transitions to look believable enough to illustrate what I see in the reference image. That's where H control comes in and helps us make that relationship a bit more believable. But first of all, you must know the values of each of these different parts of the particular thing that you're looking at. That way it's easier for you to go ahead and say, Okay, now that amount of values, let me go ahead and manage the edges. Then. I'll be able to see what I'm actually trying to get to. So you can tell that it's very important for us to appreciate that kind of stuff. And I think that gets us to the end of value control. I hope you can see what it's trying to get to here. Giving you a very basic summary of what value control actually is and how it can be summarized as light, medium and dark. And these are one of the ways you can see light, medium and dark. And I think that's it for now. I will see you in the next one. 9. Lesson 9: Color Theory : Let's talk about color theory. Now what I'm going to do is take you through the most basic things you need to understand when it comes to color. Color is another animal that should be dealt with on a whole different level of emphasis in detail that it wouldn't be doing justice to kind of like if I just told you that this is all you need to know about color. Now, what I'm doing here is giving you the basics of how color works. And I'll color is such that at that point, when we go ahead to discuss color in more detail, in the future, we have some way to start. And it also helps you have a basic way of beginning to appreciate color when you look at it in other artworks, or when you try to produce or create your own artwork, it's easy for you to know how to apply color to it as well. So with that said, let's just go ahead and see what we can talk about here. So we start with hue. Hue is the best color that defines and contract. What do I mean by that? Have a very interesting extra care from someone called now one by tau gambled. So what happens here is I like to just show you how perfectly illustrates this. The light is direct light and yellow light. So the light source is yellow. So he did, he does show the light source, but the best color is gray for the cylinder, blue for the polygon. Then read for the box, and green for another polygon, right? They're kind of very interesting polygon, kind of circular, but then it has hard edges which are more like squares. And all kinds of stuff going on. Now, what's happening here is those are the best colors. These are the best colors, but doesn't look like this. Here is a blue polygon. It looks green, which is okay, but what happens here is he has told you that this here is blue, but then because of the influence of the yellow light, it looks different. So what's happening here is the hue is the best color that defines an object. So here we are with these are the best colors. Another way to appreciate best colors is still, remember the whole idea of, let's see, if you have a bug, you usually have a color that you associate that bandwidth. For example, if it's a yellow bag, it's a yellow bag. But obviously it could be another kind of yellow or another kind of, let's say, yellow mixes something else, but you choose to call it a yellow box, so it's the best color is yellow. If you have, let's say a gray computer, maybe the MacBooks, usually you tell that it's a great computer, but obviously light will affect the computer. So light will affect the object. It can be any object really. And so when you are trying to render the object in a particular environment, you're going to have to pay attention to that light. So just like he has published so well, it's yellow light and led to the fact that a great object and made it look like it's something in the yellows. Later the fact that the blue object and it's made it look like something in the greens. So yeah, the hue is basically the best color that defines the object. If you know HSB sliders, it's going to be very easy for us to get across this quiz. And you look at HSB sliders in any program you're using a the Photoshop, Procreate or Clip Studio Paint or Krita or anything. You realize that edge is for the hue which is the best color, which can either be from red to red, but along this spectrum of the rainbow colors. Yeah. So yeah, basically that's what Q is. And when it come to saturation, saturation is basically the intensity of a color, the dominance, a hue color. What I mean by this is how much red is it, or how much blue is it, or how much green is it? Or how much orange is it? If it's red, how much red is it? If it's blue, how much in blue is it? Green? How much green is it? For example, if we look at, let's say an apple, an apple is green, but it's not as green as, let's say a watermelon. There's a difference between the two, but they're all green. So you can tell that there's a saturation variance there of one is more green than another, but they are all green. And if you look at, let's say these here, these different primitives here, you're going to realize that this here is great, but how much greater is it? A difference between what we see here in the illustration and what we see here best of the lighter effects, it Very cool thing there. So the HSB slider helps us see that by if we have chosen, let's say a, a blue here, which is what we have chosen here, and we have chosen a red here. It shows us that the intensity of a color, it's going to be moving from 0 to 100. And what's happening here is at a 100 we are extremely blue. And at 0 we are entirely having no blue in it. That's why we have a white, as white as the absence of that hue there. And the completion of that hue is at 100 per cent. So we're going to be moving along that saturation. Scale, which is something very useful to remember. So if we look at, let's say here we have gray, okay, yes, we could say this is great, but in all honesty, because of the yellow light, it looks like it's yellow. So when we say saturation, we're going to be asking ourselves, how much yellow isn't it? If we're going to render it? Because now that's what we're seeing. So brightness here comes go ahead and look at brightness. Brightness of value is the lightness or darkness of a color k. So what do we mean here? If we look at the HSB slider again, now that we have agreed that we are looking at blue, here we are. Now, you do notice that brightness and saturation are literally opposites of one another. And then if it were, let's say a line, we could have the blue here. Then we could have the white and this end. Then you could have C block there. We'd have a black on this end. So if you move this side, you moving along the brightness scale. If you move this side, you moving along the saturation scale. That's also another way to look at it. But I just wanted you to appreciate how it's the one on the same thing. It's just that they are moving in different directions. One is moving towards the darker side and move into it the lightest site. But at the end of the day, they're all describing one q, which is blue here, or which is red here. So if we move all the way down, it's less bright, less bright, less bright, until there's barely any blue in it. Same thing applies to here. So basically that's what it means. Same thing applies to the red. If we come and look at this here, you're going to realize that. So when we say it's green, we agree that the hue here is green to green. But then when you come to saturation, we've talked about the intensity of it. Is this more green than this? Or is this more green than this? If we know that the perfect green is going to be here. And as it moves down, we're going to get lighter. So we can agree that it's darker here and it gets lighter as you move into this side. Is darker than it gets lighter, darker there then gets slightly darker, then gets lighter. Same thing applies to here. So this here is dark, then it gets light blue, but then it's kind of a green. So yeah, very interesting stuff because the influence of the light, same thing applies to the red. This is red, but then this is a very light red. And that the gender column there, that there's a meat red to dark red is a light red. So you can tell this here. If we look at brightness, this is kind of in the middle. If we're looking at brightness. This here is extremely saturated all the way this site. And this here is brighter towards kinda dark, so it's coming all the way down this way. So that's what's going on there. Same thing applies to this as we move on. So yeah, just wanted to give you an idea of what HSB means and how this helps us understand HSB and how we can know that it's important to reconcile what we've seen earlier to what we're seeing now. For example, we talked about values. We can break this down into its respective values. Unfortunately, because of the kind of edges it has, it's easier to see them values. If we let say, get the eyedropper tool. And we can notice as the, as this get the slider here for Clip Studio painted scenes, HLS, but it's very much the same thing. So what's happening here is if we top here, you can see how the slider is moving its remaining in the same hue, but along the brightness here it's called L, should be standing for later thing. Along that you realize that it's somewhere in the middle there, but in the same hue, then move along this way. It's somewhere all the way that, but then there is barely any saturation. And then still seats remaining the same hue there. And then we come all the way here. It remains the same here. There's barely any light. And then it gets all the way there. For the S, it's very much the same idea. There's not much changing here, but it's important for us to appreciate how all this comes together because that way it helps us reconcile communicating as artists in the future. So yes, the best color is green. This looks like green, and it also looks like yellow because of the influence of the yellow light. Now, one more thing I'd like us to appreciate is how the transitions are moving this way. But we have a very kind of a soft edge here. And the tradition from here to here, it's kind of a lost edge. We can Telehealth just such a very gentle gradation or transition that you would barely notice. But if you move from this value here, from, uh, from this value here to this, you can tell it's so abrupt. So that's something really useful to appreciate that reflected light is right there as well. We've talked about this earlier. Then this is the shadow cast by the box onto this polygon. We talked about that idea as well, just something really useful to appreciate. Now, another thing I would like us to talk about is one virus code. Now, one is an attribute given two colors that remind you of fire, heat, light, cold, because energy, we're given two colors that remind you of cool temperatures, ice and freezing stuff. Now, I found a very interesting definition by someone was saying that the definition of warm is basically how much yellows and the color. If there's more yellow in it, then it's more warm. And if there's less yellow agonist, then it's less one, which means it's more cold. And that's just the definition they had. And I found it really interesting because really if you come to think of it, you can tell that phase probably a sense of yellow here. Kind of a yellow. The yellow is what makes us later. And yeah, definitely there's more yellow here than there is here. So if you can tell that there's barely any yellow, there is no yellow that I can trust a contrast. So you can tell that he's definition did carry some weight. But this one is very interesting. So key takeaway points from what we've discussed here. Q is basically the best color. So we can tell that this here is blue, gray, red, green saturation. How much of blue is it? How much it green is it. So the intensity of color then brightness, or the value is the lightness or darkness of it. So yeah, we talked about that and we saw how this looks like. We'll talk about light. This is really light. It's kind of a mid-tone core shadow, the reflected light. All this kinda stuff come together in helping us. We call cell the things you've said. So with that said, thank you so much for joining me. I'll see you in the next one. 10. Lesson 10: Edge Control: Let's talk about edge control. So here I define an edge as I transition between two values. Or color's. Edges can be hard or soft or lost. Another three right here. Three years. Well. So edges help define surfaces of objects in space. That's just basically what edges are meant to do. They help us make everything look more complete, more believable, and help us appreciate stuff. So let's go ahead and look at what soft heart and lost means. If we have a scale, height, let's say height is here. Remove all the way to this site. And we have, let's say, lost in the middle, we're going to have soft. So what I'm going to do is I'm going to just break down for you what it looks like. Soft drinks like a lost looks like. Hard edge is basically like we defined edges. We talked about transitions between values. So once I'm going to do is, I'm going to go ahead and choose two values to look at. So we have this right here. And we could talk about this word here. Now, a hard edge is this, this right here is a hard edge. You can tell that this is a different value and that is a different value and there is nothing separating the two hydrogens like a punch in the face. Straightforward, no negotiation. Right on top. So yeah, hard edges. Nothing to talk about really. Just this is who I am and I'm not going to change is what the height is just trying to tell us here. Then when it comes to soft edges, it's a bit more friendly. Soft edge going to be something like this. Then we have this value here. Comes here, could just increase this as well. Then what's going to happen is we're going to find out the midterm or the value in-between the two. What usually happens is you can either use a blending brush or you can use a smudge tool. Depends on the program you're using or it can do. What am I going to do here? Because min blending brushes are quite straightforward. Just get the brush, then you just smudge until you're comfortable. What you see here. So it gives you something to appreciate. What you can tell here is that What's the length of two? You can see that this kind of a transition going on, which is okay, It's an unbiased and a bad thing. We can go ahead and actually copy this side here. That's one way of looking at it. Or we can just go ahead and do it another way, which is the way that I would recommend you do it, is you get your value. This is why you have, get the second one you that haven't here. Then what you do is because many, many, many stylus and many tablets are pressure sensitive. And you can use a pressure sensitive brush. Just get very lightly this value and then just rub it over. Paint over the other side. Do the same thing for this one. Paint over this side. You're going to get another value there. Then just go ahead and do the same here. Do this until you're comfortable with what you find is kinda of a back-and-forth thing. But trust me, once you do that, you get some kind of values in the middle. Then you can come in with your blending brush. Then just do this whole transitioning thing. In my opinion, this gives you much better results than this. And so what's going to happen is that there is a soft edge, which is a key. Now, a lost edge is just an edge that is extremely soft. You can barely tell what happened. It's a very subtle kind of transition that you can barely notice how we moved from one side to the other. But it's a very, very soft transition is all I can say. Because it's very different from the software. It's just extremely soft that it becomes lost. That's why I told you it's more like a spectrum. And that's basically what the spectrum is. So yeah, so what, what's going to happen is we're going to do the very same thing, get this value, bring the rates over this side. This one year when the ridge over there do the same thing, continues until it gets something that is extremely close to what we're looking for. We can go ahead and do that as well. Well this kinda stuff, then some people don't go ahead and get the blending brush and then go ahead and smudge. But I find it to be much quicker now that I know that table and instead of violence in between, as compared to only these two, I can just go ahead and blend these in. Smarter than me. Then I'll have some kind of transition that is much fairer than I would have had if I just blended them together. Unknown. Yes. So what's happening with these is that much of a difference such between the lost and the soft, but it's that they're more winding is in-between these two. That's justify the transition as compared to this. So you can really tell that this kind of a difference there going on. So basically these are the three different edges. And you realize that a knowledge of values is important in helping us address the whole transition conversation whenever we are creating artwork. And that's why it's important to appreciate that. So now that we have seen what these edges are, Let's go ahead and look at a few things that I think are very useful to consider. Let's go ahead and look at that. If you could just capture these, then shrink them to here. Then go ahead and look at this here. Now, this here is basically an image of three primitives, which is basically the fundamental shapes we talked about. But now there's a forms because in 3D it's one-to-one. Just to appreciate the most here, is that if you look at this here, just have a look at this. Generally. You're going to notice that what we're seeing is this, Here's one value. This is one. This is another movement from this valley to the next one is a hard edge simply because this here has only sharp edges. Move into, this violates, this one is a hard edge simply because this has sharp edges and that's the background. Same thing applies to this movement from his wine into the next one. Same thing applies to this moving from this value to this one, hide edge transition. But then you can tell that even if you look at only one edge, you can break it down into different values. That this here feels darker than this, and this fear feels darker than that. So the movement from this value up there is a transition as well. In my opinion, it looks soft. So soft that it almost feels lost there. But it's just something really useful to appreciate that. Then if you look at this here sphere, It's a perfect example. It has a high light. Then there's a value, there, is a valley that value there. Then there's another vet. The movement from this value to this value squared lost. But the movement from here to here is a software. Say if we just clean that up, can tell that the movement from here up point, It's kind of soft. But the movement from here to this side is a lost one. And the movement from here to the barcode is a hard one. There's a hard transitions, soft transition and loss transition. Transition from the highlight to the mid tone could be a soft transition. But you can barely doubt the fact that having an understanding of these three edges is going to definitely help you in rendering stuff like this. So once you know what the value is, in novices on the value scale at some point, wireless killed some point. This is a hard edge, so I don't need to do anything, be able to appreciate this kind of stuff even more. So basically what I wanted you to see from this was how these edges can be seen in this image. Now with that, out of the way, we can just go ahead and see something else which has clean this up. I wanted to show you this painting here. This here is a painting by, unless it's called Aaron Griffith. Griffith is an amazing artist and his work is also very interestingly, kind of realistic, but with a bit of an abstract element of it. So if we zoom in, you'll notice that this then zooming in a bit there. Just to just appreciate how obviously the transition from her head here to the background is a hard one. Yeah. Granted. But then the transition from, let's say this side, the forehead, it's kind of really soft. The transition from her hair into the head soft. But these are really hard transitions. You can tell the transitions are rounded shape, they're really soft transitions. This is a hard transition obviously shown this one from this side of the jaw all the way, this way, the values are changing. But then you can tell this is a very soft transitions as well. So you can really see the transitions were saying because now here he's using color. It's a bit more interesting to look at, but it's the very same principle of edge control because we understand how things work. And because we know how valid is work, then we can apply color to these values and make it even more interesting. For example, if we look at this transition from this year to that, It's kind of a hard transition in my opinion because you can tell the difference between these two lines clearly. But if you look at the transition from, let's say, if we look at, let's see here to here. As we move this way, it's going to win lost one because obviously he's using really textured brushes, but you can tell that this kind of transitions are still being implemented within the work. And I just think it's very nice for us to appreciate that. Yeah, Basically that's it for this. There's more to talk about, but I wanted you to just see how he applied this transitions to his work. So basically that's it for edges. I just want you to see how they work, how people use them. And we'll be talking about more examples later. But with that said, I'll end here and then see the next one. 11. Lesson 11: Composition: So let's talk about composition. Composition simply means to put together. So in artistic design, composition refers to the ability to put together different artistic elements to create a cool, oh, good art piece. The word subjective is in brackets because Cool, All good. I think that only you that artists can tell, if it's cool to you, then it's cool. You do not need anyone else to tell you otherwise. So what I'm going to do is just take you through a few things that I think are very useful for us to consider when discussing composition. So there are these whole composition tools such as shapes. Like we see. Here. This is an extract from one under luminous his books. Shapes are there. The rule of thirds is also there. And then the golden ratio. We talked about the golden ratio already. And we said that the golden ratio is basically a spiraling interesting idea of big medium and small overweight. All the way. Just very interesting, big medium and small ideas continue, continue, continuing all the way until the end of the spiral. So it's a very nice thing to appreciate. We'll be looking at examples of how that's being applied. And let's go ahead and look at something really cool here, I want to tell you about certain ratios that are found to be very useful. Now, obviously we have the will offend, we can just start with that. And the rule of thirds basically built on the idea that if we have a frame such as this one and we break it down into thirds, access. Our focal point of our composition should always be very close to these intersections. So whatever we're doing should always be close to these intersections. Same thing applies to the golden ratio. You remember when we talked about the golden ratio, what became very clear for us was that just to go ahead and duplicate this out here, then show you something really cool. So we talked about the golden ratio I layer. Once we agreed upon, was the fact that when we look at the golden ratio, Let's go ahead and zoom in there. So when you look at the golden ratio here, going to realize that it's just built on the whole concept of big medium and small, big medium and small, ETC. To see. Which is okay because it's also one of the things we looked at it as very useful Foundations of artillery create. But even more interestingly, the idea of the golden ratio is that the focal point of your composition should, in one way or another, be close to the end of the spiral. That's what the whole idea of the golden ratio is all about. And if you look at the whole idea of the rule of thirds, It's that your focal point or the thing that you want to draw the most attention to in your composition should always line up with these intersections. So it's no coincidence that these two have a very similar sentiment. But like we agreed, this is a very interesting continuous idea of big, medium and small. And same thing applies to this ministry you, because really what happens is in order for your focal point to line up with these intersections, you have to make sure that it's either here, should be close to these intersections. So it could be something like around here, around there, somewhere there somewhere that what does that mean? If it's gonna be there, then you're going to leave all this best behind. You're going to leave if it's, let's say if it's this one. If this is your focal point, which just go ahead and shrink, this is your focal point. That means all the spaces being left behind. Or if your focal point is here, that means all the specimen left behind. And if your focal point is, let's say here, because it's close to that. All the space is being left behind. If your focal point is, let's say here, all that space is being left behind. If your focal point is, let's say down here, all that space up here has been left behind. So you're going to realize that doesn't matter what happens. You're going to have space somewhere. And you can have a focal point somewhere. You have to fill that specific a few things. But at the end of the day, it's going to be this whole idea of if your focal point is here, that means it's going to be small, then that's going to have a big, definitely a medium should be either within here or maybe this is your medium, such that just smoke could be the details. But you realize that it's always going to bring us back to variety and contrast. Big, medium, and small. All that just keeps happening. Simple versus complex. And you realize these things keep repeating themselves over and over and over. And the golden ratio is satisfied at the end of the day. So let me just show you a few. I call them percentage ratios are just ratios that are very useful for you when trying to represent the kind of work you create. Because what does is supposed to basically achieve is they're meant to help you be able to, let's say, communicate the walk you're creating by ensuring that you balance out every elements in your composition that way. So I'll just go ahead and copy this. Pick this over here, bring it down here. Then let's go score, talk about those ratios and telling you about, so we have the monarch rules, but then they are just the way of partitioning your workspace. If it's a frame, you're going to petitioners a certain way. So this is just going to be guideline to help you partition your frames in one way or another. You can have 8020, You can have 6040. You could have 5050. Well, you could have a 1090 when you could have a third to two-thirds. Now let me show you what that looks like. So if we have an 8020, we have a frame such as this one. What that means is you have 80 per cent on one side and 20 per cent in another. So this could be 8020 or could do it this way. 1820. Yeah, very same thing. So in summary, if we just have something like this, so could just fight, should be something there, something like that. So that's what the 8020 will look like. Very interestingly basic, but it's very useful to appreciate. If it's 6040, it's just going to be add more detail on the side of 20. So it could be something like this 6040 or something like that. 6040 basically. So I could just go ahead and have the very same thing. So it could be something like something like this, I think. Sorry. So it could be something like something like that. And you can just go ahead and fill this up. Yes. So basically that's what 6040 would be looking like. Very simple, straightforward. And it helps communicate some kind of coolness. In a sense. Then obviously 5050, just like the name suggests, it's going to be perfect half the composition, the frame. It's going to be a perfect half of the frame like this or this way. Yeah. Something like that. So what that would look like here would be right in the middle there. Just something like this. Then screen and fill that in. That way. Awesome. Yeah. Then 1090, it's going to be 90101090. Very much the same thing. That one is going to be a bit different, whereby we have something like this. 1090. Very rare, but when you see two on matters, 1090. So basically that's what that looks like. Something applies to hear. All this is simply doing is it's helping you know how best to partition your workspace for you to make sure you make the most out of all the elements we've discussed so far and have a good or cool artwork at the end of the day? Yes. So that's 1090, then a third to two-thirds. The name says it all. It should break your artwork down into thirds. There could be equal thirds. For a much more fair representation. Something close to this. Then if you just fill up 1 third, leave the two-thirds alone. It looks like 6040, but while they call it a 30 two-thirds. But it's very much the same thing really, to just fill up this third. They'd have all that going on. And usually you can also have this here in the middle, fill them. Then you have two-thirds empty, which is where you find, let's say the main characters here. Those are the tiny stuff going on in the background, going on all the way there. You know, people than or scan stuff. Usually that's how it happens, but theta2 fans is also really cool. So we can have that as well. Break this down into three. Something like this. Then we're coloring is two-thirds. Something like that. Yeah. These are the basic ratios are going to be using. You could consider them as percentages, but I just wanted you to have a very basic understanding of how the rule of thirds works and how they will have thirds leads us to hear a golden ratio works and how the golden ratio is part of the big, medium and small family. And how old is to actually work together. Because at the end of the day, agreeing to find beat medium and small, even in this kind of break down. So with that said, let's go ahead and look at this extract from Andrew Loomis. So what I want you to talk about here is how he's using shapes. You can tell. Now, let's just go ahead and zoom in a bit. More. Attention to that. Now, very interestingly here, you're going to realize that go ahead and use a green that we have a trend. I speaking with you, the skills we have chosen to use his skills as a shape. We have a main character here, then, characters on the side. So you can tell the whole shape elements. But not for me. What I usually like to appreciate is how it's hard not to see certain shapes. For example, this is a triangle. And also, if you break this down into half, what do you see with 5050 kinda stuff, yeah, very cool there. Then if you look at this year, inevitably a triangle as they said, up there. So he also goes on to talk about what each shape represents, balance, physical stability, continuity. Gentlemen, as you remember, we talked about that. Stability because well, that's one way to say it. But obviously everything here is simply a tool, so everyone has that luxury to shape it the way they want. Because for many other places you're going to also find in other books where they say physical stability is represented by boxes. For here he's saying triangles, which is also okay. Then here we have circle. So we have these here. And that now if we look at this here, we can tell that everything is here in the center. And that to me looks like a 20 kind of stuff or 6040. Because if you put this together, for the most part, it makes up something similar to that. And if you look at this here, we have a crust. Obviously we have these here, It's pillars. Then we have these characters here. The most part it makes sense that they use the course. But in a sense, easily, this is a bit too much work to do. So just find something that works for you. But I want you to notice how he used these as well. For example, for me, what RBC is, there's many characters here. In these two characters here. Then there's always stuff. So could just say that this could be the big, then this could be the medium. These are the details and this could be the small. One way to see it. Or if we go ahead and separate everything in half, we can tell that this here looks like a 6040. Kinda break down. Then spire radii. Then read out here is a focal point. Everybody's looking here. Basically. Then here's an S. What's happening here is it's taking the pose of the character and he didn't have to describe what's going on. Very interesting stuff there then L, obviously this looks like a pond. Then there's live like trees and stuff. So pretty it looks like an L. But if you break this down like we've been saying earlier, could tell but this year could be ten. She or it could be a 90, something like that. And here we have a perspective clean. What's happening here is we have 8020, we have a big, we have a medium, then there can be small, something like that. Then we have another perspective plane here whereby we have that going on, then we have a horizon line. Then we could say this looks like a 5050, another perspective plane dressing, and this is more of a triangle, I think considering the way he tries to shape it. That kind of edges there than this. Then here uses an oval shape for the pond. Then again, you can tell that this year can be broken down into more. So we have this had been broken down into kind of like 8020. Then if you break it down even further, you can still see scheme and ETS as kind of a 6040 along there. But it's all about making sure that everything looks balanced to you, the artist. And that's all that matters. To me. This looks like a 5050. And this here is the big. Everything else can fit you in weight once, but then that is the most important thing. And here we have bread, I again think meeting together this way. Also we can see this ES, complex versus simple, really nice stuff. That perspective line again, 5050, another perspective mine, horizon this way. So that looks like an 1820. And this is not so clear, but you can tell there's a sheep horizon right there background. So we can just say that what he wanted to communicate to the significant kind of a 6040 kinda thing. So yeah, that's basically for composition shapes, which is what this is. Then there is the golden ratio, which is what we've talked about. There will a third, which is what this is. Then there is these. The best offer will have third. And basically this just helps you learn to put things together perfectly for you to see something cool, All good, according to you, the artists. So just find a way to use this stuff to satisfy your expectations as a creator at the end of the day, to going to look at it and say, not so bad. Actually, I did something really good here. So yeah, all the best and the bad set. I'll see you in the next one. 12. Lesson 12: Learning From Old Masters: So here we are with some old masters. And old masters. Obviously I'm talking about artists that have moved before us and the people who actually had work that up to now Scylla means is that people have today and we can learn from them. So we are beginning with William adult bugger over here. And his work, you can tell that, that there's simple, more detail this side. So simple versus complex, perfectly represented here. And obviously even if we go back and say simple versus complex, you can tell that keeps happening. So just find that really useful to appreciate there. Then. If you look at big, medium, and small, we can tell the baby, obviously, it's going to be the small. The lady is gonna be the medium. And probably the bed could be the big. Or you could choose how to place them. But then I wanted you to just appreciate the fact that there is important in the sizing of these characters. I mean, why isn't she carrying a 20-year-old? Know, you have to make sure that she's carrying a baby that way. It's a much more aesthetically appreciate it. Image and a beautiful picture. This is a very interesting, deliberate decisions that the artist meant. And it's nice of us to learn that he was thinking this kind of stuff. So we can just clean that up. A very interesting thing about this kind of work is you can barely see the line work, but you can appreciate the fact that he knows what he is doing is just go ahead and zoom in here and see some very interesting edge control. The t used. So here we are. And what's happening here is we can appreciate the fact that movement from here to this way is very interesting. Soft transition. This, this right here looks like a very lost transition. Kinda more or less soft. But then if you move from the highlight around, from the highlight around it, more of a loss transition, in my opinion, this year looks like a loss transition as well. Highlight around and loss transition this whereas a soft transition. And obviously we know that hard transitions are going to be very clear. For example, this one, high transition, they're really cool stuff. Then obviously we start looking for things like management of values is greater than appreciate the fact that we can tell that all this is in shadow. So we can see the shadows here. Then we can tell this is in lights because the face of the baby and all this has been lit. Also in shadow. Yeah. And then we can agree that she is medially or that could be where the medium is going to be, but then the shadow is here, and then light is at the top. And he has made sure that using carla, he can show you that we can agree that his view controllers right end point. And it's just important for us to notice this kinda stuff. Because if you know that all I'm looking for is the light, medium and dark. You have less work to do than, Oh my God, this is a painting so complicated. How do I even start? No, it's just break it all down. Start slowly. Look for what is late, what is in the middle, and when it's dark, we should break that down like that. Then now go ahead and examine how do I achieve the medium? How many values are those? Hardware chip the dark, how many values are those? Once in the light, and how many values are those? It's much easier to get to the final end once you break it down that way. And also, remember the whole idea of focal points. The baby is a focal point, obviously. So spiral. It's going to be showing this, this, if you remember from the other side. And this to me looks like for breakfast down from around here. It looks like, moreover, 6040 kinda thing. If we break this down even further, surely the baby is near this focal point. So not so bad. And remember how the whole idea of the golden ratio was to make sure that in one way or another, the focal point is near this intersection of where if we were to let say, have this whole thing going on and all that, we'd have this here somewhere here. So yeah, golden ratio also achieved simultaneously. Really cool stuff. Then if we move on to this painting over here, obviously the baby is the focal point again. And everyone is looking at the baby. So remember the whole idea of spiral that we saw earlier comes in again here. Really cool stuff, simple, complex, very interesting. And with this, one can agree that it's more of a 5050. There's a fair amount of attention on both sides. But this is complex and down here is simple. Very simply. And big, medium and small is also here. Show you you can tell what the baby's obviously small. The lady here is medium, and this group of angels is big, big, medium, small, cool stuff here and finish. Really nice stuff to appreciate because it's really shows that what we've been talking about is happening and also overlaps. It took about it overlaps here. You can tell that the baby overlaps the mom. Here. We assume this is a mom. The baby overlaps the mum. The mum overlaps the angels at the back. Yeah. Then this NGO overlaps that angel, that Andrew overlaps the other. And it just keeps going on. It's important for you to know that this is behind that, that's behind that. And that it's being achieved through overlaps. Overlaps the helping us do that. No, it's obvious but it's not. So just bear with me. This is it for adult bugger row, amazing artist. You can go ahead and study his walk in more detail. Appreciated personally, even do master studies if you have the time to do it. But I just wanted to show you how what had been talking about is being used by whom and how his work is also amazing. So let's go ahead and look at some of the milestones. Okay, so here we have Norman Rockwell. Let's start with Norman Rockwell over here. So norman Rockwell as work is amazing, obviously, one of the fathers of illustration. So here we are looking at nominal coursework. So I think when Norman Rockwell is work here is just like we've been doing with all the others. We're going to be looking for how he applied the stuff we have been talking about. So let's begin with appreciating the fact that if we look at the characters within the composition, this here is the bigger character, that there is a middle character and the kittens are the small, really cool stuff right? Then overlaps. Obviously, we can already notice that these hands overlap the boy's hand as it moves under his hand, overlap his face as it comes in. And he's had overlaps the chair That's right behind. And he overlapped the chapters right behind. That's really useful for us to appreciate. And obviously, if we go ahead and look for things like simple versus complex, going to notice that if we look at this side, there's simple, then there is complexity side. There's more detail here and there is this site. So if we break this down, you can really tell that one side has less information than the other side. So that is very deliberate. And then also maybe we can talk about something else here, which is going to be the idea of how this is broken down. This looks like a more 6040 again. I think that's really nice stuff to appreciate that. And let's just leave it at that. I just wanted to show you how he did that. There's more to talk about obviously, but I think it's just fair that we appreciate that for now and then move on to something else down here. So here we have another Norman Rockwell portraits. And if you look at his linework, because nice way we started seeing lines. Like I said earlier. Thick lines are for emphasis. So he wanted to emphasize the separation going on between the neck and the shirt. That's a thick line. Separate the shirt from the background. That's kind of a thick line there as well. We have a thick line here as well for that edge is really cool stuff. Yeah. Obviously we start looking for transitions. Now. We know that this here is lost transition. That looks like a soft transition. It looks like a soft transition as well. That there's a very believable hard transition. Transition. They're hard transition down there, kind of a soft transition through there. You can already tell that's what we're doing here is comparing transitions, light versus dark. You can tell that he knows what he's doing. And I think that's it for that. Then here we are with another one by this is John Singer Sargent. So what's happening here is he's broken it down into shadow and light. Then it's further broken down the shadow into handmade. Yeah. So we have dark, medium and light. And within each of them we can find even more. For example, you can find this can be done, that can be light compared to this. So we can always go ahead and do all that kinda stuff. But then if you go in and look for the edges, we can tell this is a soft transition. Hard transition, lost transition, their high transition, their soft transition here, hard transition, their height again, kinda soft moving this way. Soft here. Kind of software as well. Because it's very different from you. Also thick loans, you can tell emphasis right there. Emphasis right there. These are very light. So it's going to be very thin. Line two is using to make this kind of strokes there. So he was just trying to clean that up there. This here is a thin line for the edge of the moustache. So I just wanted to show you how he did all that thick line over there as well. Thick line obviously. This like an S curve to think about it. Another S-curve there. Yes, so seek out there as well. I wanted to just see what's happening here. So we have a C curve, C, The C here. And hope is seeing how, what had been talking about is actually being used by all these are the gains have been seen and how they've been using it and that fact that it's real and yeah, really cool stuff. This is dancing sergeant, for you. Now let's go ahead and get someone else. So here we have finally Alphonse mucho. Now, much as work or Luca is amazing. He's one of the people who had began this whole movement of very interesting artwork that had so many floral patterns. Art Nouveau is what they call it. So if you look at the work that's been done in depiction of this, you'll find that it's always having this kind of colorful drawings, flowers, and all this stuff. Really amazing work. Yeah. So if you look at his work, you're going to notice that what's happening here is simple, obviously was complex. There's a bit more work happening this way. Simple, vast complex. This is no mistake. I'm sure it was very deliberate. And obviously it makes for a very much, it's a much more balanced composition if that's what you implement. Then, because now this is more of a very simple female composition. Can tell there's an S situation. There is also an S going on here. Overlaps because obviously the designs of the flowers at the back, she's a head. Then there's all this kinda stuff going on at the back there. If we zoom in, we can even see the line work. For example, for the way he represented the clothing. I can really see why it's important for us to practice how to draw ribbons. Because this here is a perfect tree been flowing this way. This here is a perfect variable flowing that way as well. So interesting way to see ribbons and appreciate them. And yeah, really cool stuff there. This is also ribbon wrapping around. And there's a lot of activity going on here. But what he's done is he's used lanes to communicate this stuff. And I think in my opinion, that's something really useful to appreciate. General. I think with that said, let's go ahead and look at some of them you can appreciate here what we can see. Obviously there's overlaps. She's a head of all this stuff, bind her. And you can also see the line work here. It looks like thin lines. Zoom out and just see the way he managed the big, medium and small. For this lady over here, she's the big obviously. Then once she's holding her hand, looks like it's medium and she's wearing something that I had as well, equally significant size. So that's the transition with her. There's not much going on except heartbeat in the picture obviously. So there's not much to talk about that, but you can tell that when we look at the colors, the major crime is really, you're going to find that what's happening is the whole breakdown of light. Medium and dark is also respected here as well. So there's obviously more to talk about, but I think let's just end here for now. And I'll see you in the next one. 13. Lesson 13: Learning From New Masters: So let's talk about some new masters and see what we can learn from them and how they implement the stuff we've been talking about. So what's happening here is we have arch from artists that are alive today. That's what I call new masters. People that are alive today, people doing amazing work. And it's only fair, we learn from them. So yeah, this is Alexey here and go ahead and see what he has to share. What's happening here. You can tell is the first thing you can notice is we have three characters, Spider-Man, Miles Morales, and spider girl over there. So what's happening is we have a very interesting depiction of simple as complex. Simple, more detail. You can tell. Very cool. There can be simple that then more detail, more activity going on there. Same thing applies to here. There is kind of a simple than then this is just kind of a curve. Then this going on. Basic stuff. But I think it's really cool. You might not have done it intentionally, but the fact that it happened means that it's actually cool, or maybe you didn't intend it. We will never know, but you can tell that he did it here, so cool. Then another thing we can look for here is the basic shapes. We talked about. Triangles, yeah. So there are triangles can be broken down into just the sharp edges. You mentioned. It's sharp edges that can take or something. So if you look at this here, we have a lot going on active that going on active, active. Then we have this with her legs active. So remember we mentioned how triangles are always used to communicate activity. And these are very active causes. The whole triangle thing I really cool. Then stability we talked about squares can tell that everything about it and buildings just communicating. Square shapes, boxes. You can see the box in all the buildings. You can tell. Also, if we could just go ahead and appreciate these overlaps. You can tell that she is ahead of the building behind her. He's ahead of the buildings behind him, and he's ahead of the stuff binding. Also, something you can barely miss is this whole idea of, here's the big character, is the medium character, smallest at the back. So it helps you navigate around the actual composition. Very interesting stuff, yeah. And I just really like how everything is coming together really believably then maybe we just have to zoom in a bit to see how he was shown to implement this whole thing of edge control. Could just zoom in. So you can tell that if you see the transitions here, we have very interesting soft edges like around these muscles here on the legs. Then you can also tell that this transitions here, very soft, obviously hard edges into the background. Hydrogens into the background, but then there's a soft transitions around the surface. Then we have soft transitions along the back as well. So you can really tell that mostly highlands here. So you can tell the situation from that rate all the way to the highlight. Knows where to place which Edge and how to manipulate that. Then this, we have this transient here. Look at the soft awesome overlap with the leg ahead of the other leg at the back. Legs, the head here for shuttling because it's happening. Also fortunately in this own connectors to these two ellipses, then pull this out. Really cool stuff there. Then I think we can see this highlight here, transition over there. Interestingly blends it all the way in. I just wanted us to notice that highlight there very believable transitions. Then there's even less attention to detail for this character. The buck, more attention to detail for this character here. And then essentially detail would use it until it's even less. So it's really nice to just see this kind of stuff. Then obviously this year ahead overlapping the legs coming from the back. Really cool stuff. They're just wanted us to notice. I think that's it for this. If we notice this here, this is by TB1. Tb2 is also really good artist to buy tail. And this here is a soldier's outfit, female soldier. So what's under this to appreciate about this obviously is how we have also a simple versus complex. I mean, if you think about it, the gun is here. There's nothing on this side. Very fair way of depicting contrast. And also you notice that she chose to put this here. And lots on this side. Because there was already there. So she's alternating the detail, failing to communicate that kind of transition. That's really nice stuff to appreciate. And also you can consider the fact that these right here, I'm just going to introduce up for zooming. They're going to notice that if you come all the way up here, this right here is a box. Basically. Once you place in this box, then you can go in and add all this stuff. This here is a rectangle. But then there is something on the inside. So this here overlaps that thing on the inside. Then this here is kinda like a ribbon that wraps around the character, but this year is on top of it, so it overlaps it. Then this here is a box as well. 3d because it goes at the back there. But then this here overlaps it. And talk more about boxes in detail because this is, this is a very interesting topic of subdivision. Okay, there's a lot more detailed perspective and it's just very interesting to talk about boxes independently. And we'll have a class and that neater, take a bite boxes. Specifically how to manipulate boxes, because so much can be derived from just one thing, a box. So we'll be talking about that. I'll see you can realize that she has chosen to use thin lines for these tiny details. Remember, talks about land, yeah. So as something really cool to appreciate about that as well. Then if you look at the value control, especially for this one, you can tell, especially if the fabric, the material, when you look at material, material has a lot of work to do with manipulation of lights and shadows. And she's alternate them really perfectly to help us sell the illusion of a scarf. I think there's something really important for us to appreciate as well. So yeah, basically TB joins work is amazing. Shadow shapes are very clear. Color she has done really well, can really tell that she knows what she's doing because this is a brown leather jacket and the fact that the payment agree that it's lever is in itself something to the whole so yeah, really cool stuff there. Then honestly for the hair. And we talked about has ribbons. So what she's done is she's grouped it together, rendered this part, then just broken the edges off. When a cluster for can discuss that another time. But if you look at guns really, it's just a box. It's well, then it's a box that can be broken down and included two cylinders. Cylinder the cylinder, then obviously you break the cylinder down even further into other more interesting details. Here is sulfur. Yeah, so I just wanted you to see that and think, well, if you compare what we've been talking about to what you're seeing here. You can really tell that what I've been seeing is not something new, something people are actually doing. And I think we can describe them. Look at this other picture here. This series by C on Kim. His work is amazing. He was part of the team that developed the boondocks. And what I wanted us to appreciate about his work is basically how he renders. So he's edge control. It's not the traditional kind of blending as we saw in these other two. You realize that with him, what we can see is this is a hard edge as we move all the way down. But within this hard edge that transitions. So I think there's something really cool secretions. Within the height age we can see transition. Let's choose a color value. Can see transitions within the downward, downward all the way. This way you can really tell that he's moving gently and transitioning. But instead of blending is just increasing the mid tone between one value and another by adding another value in-between them and maintaining the texture of the brushes using. So you can tell that even if these are really hard edges, It's hard to miss. Within this. Shadow shapes can really tell that that transitions in there. And it's only transitioning with mid tones without putting so much walk into blending. But you can tell that this is something really useful to use as a method of, let's say, communicating form. For example, if you look at the chicks here, you can tell that they're moving from dark to light. Lost transition there. Even though he didn't blender. Just something really cool to appreciate that, but see on Kim's work and I think just wanted you to just see how he blends and how he's edges. A hard, really hard edges. There is really no negotiation over there. But then at the end of the day, if you zoom out, you can really tell the picture is complete. It's like there's something missing. It's just, it's a really good concrete image. And I just think that's something really interesting to appreciate that. So I think that's it for C and Q. These are the two characters. Let's go ahead and get someone else. So here we are with oranges ASU Martinez and earns ISO is an oil painter. How work is amazing as well as you can see. This is really realistic for oil painting. So what I want you to appreciate, the cost of oil is simple versus complex. Can you tell that's going on? Overlaps. Dracula is at the back. She's in front. Then when she noticed that the knight can really start to see this whole idea of the S, like we saw with Andrew Loomis is sketches. Then we can now start to look for all these other ways that they have applied. The simple things we've been talking about from the beginning. The way they, the lighting is done. If you notice this slide here, lights Dracula and the lady right there and says something really cool to appreciate because if you see that the now you can notice the way the light affects the dress, her forehead, and the room around them, and how it affects the cloth you do not aesthetic comes all the way down. This is light. That is light. What's all this here? Shadow. Find that to be very interesting. I'm just zooming then just look at a few more details. K. So we start with up here. Now, when you look at this, you realize that the transition from her forehead all the way down this way it's lost. One way to hear the software can tell, can have a soft edge. This transition from here to here is kind of a hard edge. Mr. Hyde edge. This to the background has a hard edge. Basically, I'm just trying to show you how Also this is China's pursue. Show you how what we've been talking about is applicable and you can apply to and it can work for you. So Aaron sizes walk is amazing. It helps communicate the same way gear. So we have a box for a book here. Can break them down into a box. And then just go ahead and add all the other details you want to add. Same thing applies to this inbox. Amazing stuff here. So that's really cool. I think that's it for here. I just wanted to show you how she did what we've been talking about. Obviously, we cannot question how value control, because the best way to communicate color is by manipulating values. And that's something she's done perfectly. So here we have this here, and you can tell that with this one, we have simple versus complex. Again, more detail to this side and this side. If we're to break this down, this looks like 6040 kind of composition. Find it really cool. Yeah, and obviously we can go into more detail and talk about how She's minus edges. You can tell this is more of a lost edge on the highlight to the back. But then for the buck to the background, hard edge completely something a bit there for you to appreciate that even better until what that transition there is soft. But then this tradition here is hide. Same thing applies to the hand, to the hair hard edge. Then we can appreciate how these here are wrapping around home. So we should tell that this here is coming through it. That way. Kind of obvious but not obvious. Then here, overlap of the legs against the other side. Cool stuff there. And if we zoom out onto just show you how this here is an active pause. Yeah. So we look for triangles. Whenever we see active poisons, we know there is some kind of imaginary line there. When imaginary line there. And we can fit this in a triangle perfectly. If he was standing next to her. You wouldn't be so much activity going on to be one of those average poisons. But then he's right down here, and that's no coincidence. I think that's something really cool to appreciate as well. Overlaps, obviously these are behind them. And that's something also important to consider. And for value control, really, the best way to communicate color is to use violins. And you can see the difference between what we talked about, light, medium, and dark. And you can tell that the highlight is light is highlighted over here. If you think about it. The way she has chosen to illustrate this highlight, you can tell that highlighters light. And you can tell that right around here is dark. You can tell that writer and he was medium. Quite straightforward. Yeah. And it's important for us to notice that we can tell that this rope here is light. That there is. The medium around it to be dark. Basically that's the same way. So I think there's something really cool to appreciate that. And I think we'll move on to bluish right here. Now with this one, which is a very prominent artists of our term as well. And you're going to realize that with her. Obviously we can also see simple, vast, complex than that really cool stuff there. But also even more interestingly, I like how she managed to edges. If you break this down, you can tell this is also kind of a 6040 kind of arrangement. And big, medium and small. Obviously we can tell that the character is, that the character is the big flowers, the medium. The moon is small, like how she did that. And then obviously if we zoom into the face, we can see that the hair is the big phases, the medium, flowers or the small, or the moon, there's smoke. You can always choose how to go with it. But then again, they have to realize that these principles are going to one way or another happen intuitively or not. But you knowing that that's what's happening, helps you be able to implement them even better. So yeah, basically that's what it is. And if we go into appreciating how she manages her edges, going to notice, I'm assuming here that the transitions between the shadow shapes caused by the hair are mostly hard transition from here to here, from here to there. That's a really hard transition. But then within here we find that there's loss transition, the shadow shapes caused by the cloth hard transitions. But then along here we can find loss transitions, soft transitions right there. The arm, kind of a soft transition there. A software engine that is kind of a hard one as well because of how largely speced is defined as all can have a soft transition there. But basically you can tell that that's so bad we've been talking about can stuff and you can see them happening here. Let's just simply really priceless and worth appreciating. Overlaps. If you notice, flowers are in front and she is right behind that. So she's being overlapped by the flowers, which is something really important for us to remember. I know obviously is a cylinder, so there's a bit of form there as well. This is one of those situations where we have an interesting foreshortening. So we haven't interesting for shirts and it will be on there. So this is how you get that to work. You can make this some kind of shape. They're basically really interesting stuff going on. And with that said, I'll see you in the next one. 14. Lesson 14: Assignment : Thank you so much for sticking around up to the end of the class. And this is a part where you go ahead and do some work yourself or suggesting you do one-page where you have the lines of different types. We could try just that. You can keep yourself in the, let's say the mood and then just prepare yourself before you get into any serious form of joint. It's a very nice thing to do before drawing. Let's say if you wake up in the morning, if you have an extra hour, just to keep yourself in this flow of it, it really helps eventually because it keeps your hand. I is coordinated. And then you can also do one for shapes, whereby you're just trying to manipulate the shapes that you've learned. Even if they're not very detailed drawings, it just keeps you aware of these things and whenever you see them, you'll always notice them. And you start looking at everything around you and all you can see is the shapes. And it's a very nice thing to do really just helps. And you can also go ahead and practice with form. Remember we talked about all the three-dimensional ways you can interpret shapes. So it's a very nice thing to do as well. When we get the spare time, you can just go ahead and try that and just get yourself warmed up before you draw. Or if you get a spare minutes whenever you somewhere, you can also go ahead and do that as well. So it's a very nice thing to do. Because when you get to drawing, you start to see these a lot more than that just improves your drawings over time. And obviously, when it comes to big, medium, and small, the best way to do this is to, let's say go ahead and play around with the shapes. Really do this kind of stuff. Very simple stuff. Can do it with cylinders as well. Just so you can know that one time when I'm doing this and that one way to promote or communicate variety is by using big, medium, and small. It might sound very basic and very, let's say childish to do it. But at the end of the day and notice how much it helps. Same thing applies for overlaps. I would suggest you try and overlap simple shapes just to see what that would look like. And that just keeps you aware of the fact that overlaps. Very important. They need to do this every day, But whenever you can, it's a nice thing to consider doing. So you can do that with circles, triangles, boxes. And it'd be nice to be to try to fill in those just to see what it would look like overlapping cylinders because that's what happens when someone crosses their hands. The hands are like cylinders. So when you're trying to drill crossed hands, it's simply trying to draw overlapping cylinders. So you really notice how this helps over time than simple versus complex would also be nice if we just to do the very same thing, religious trend, apply simple versus complex is very basic shapes. For example, if you look at the torso, let's say for drawing the figure, we do realize that we have a box for the rib-cage. Then we have a box for the pelvis. So if you have noticed, very many books have this kind of illustration. So it'd be nice to me to also go ahead and try simple versus complex because we have the simple side than the complex side there. These are boxes. You could try it. It's cylinders as well. And that just helps you keep your eyes and hand in the idea of this kind of stuff. Then when it comes to these other, I tried to put them separately because of the sense of detail that don't command. When it comes to these seven to ten, I would suggest that you go ahead and do a five to three values scale study. You can just go ahead and try to apply yourself without using palettes that come with the software you're using or without, let's say, copying and pasting. Or if you're working traditionally to be a very nice way to actually do it. To be good for you to consider. Doing a 35 value scale. You can try traditionally, you can try it with digital media. But try doing this because it's going to help you keep yourself in the idea of how this works. And then for the fur color theory, if you get a chance to have, let's say, traditional medium around, It's nice of you to try doing a color wheel yourself. Because the best way to interpret color is by understanding how it comes from, where it comes from. And doing color wheels is an exercise that we used to we used to do when I was still in school. And it's also a very nice exercise for you to consider doing. Then for age control, I would suggest one you could trace over. Your favorite artists work just to see how they interpret edges and how they manipulate transitions. Because that is also a very nice way for you to learn how to render in general. And you can copy one of the people you appreciate the most and try to replicate their work. There's also another way to do it. You can also just simply try and my name's the transitions between your value scale that you actually did and your color wheel that you did, such that you can try and see how best you can make these transitions soft or keep them hard to make them lost. It's a very nice way to keep yourself in the mood of understanding how these elements work. Then finally, for composition, I would suggest doing thumbnails of various types of composition. Now, that could be using a the shapes. You can either try and put shapes there or you can just go ahead and put people in the compositions just to see what that would look like. And it just helps you understand how you're going to play around with all this kinda stuff, then put them in a kind of a rectangle because that just gives us a frame of what exactly is going on. Then maybe there's a couple of people here. Maybe they similar. The very back is basically a very decent way for you to keep yourself understanding what's going on. And in my opinion, it's been nice for you to let say, appreciate this stuff in detail. And I think with that said, it would be very nice thing for you to consider these kind of exercises. And I know there's so many of them. You didn't have to do all of them at once and you don't have to do all of them. I just suggest that you do these because they are very useful exercises to do in order for you to keep this off in the knowledge of these elements and the kind of practice are going to be doing is not just a one-off practice, it's continuous. So I'd suggest, well, to be nice for you to share maybe your color wheel or your value scale. And we can also learn from one another if you can share your composition thumbnails as well. Basically the end of all this is for all of us to learn from one another and from each other get a thing or two to help one of us improve their process and make the whole thing easier. And then that's it. Thank you so much. And I will see you in the next one. 15. Lesson 15: Conclusion: I'd like to thank you all so much for sticking around up to the end of the class. I know it's been a bit of work. We have talked about several things. And yeah, these are basically the building blocks of artistic design of any kind. And they do not only apply to join painting, they do apply to every other form of art or design, architecture, sculpting, and everything in-between. And even fashion design. It's just, this is what's really defines how every other form of art is created. And then just felt It's only necessary that we begin by understanding them. And very interesting thing you can consider is that each of them is much bigger than what I've done. I've simply giving you a snippet of what's exactly it goes on and how exactly it happens once a month. I was just to give you a basic idea of what you need to pay attention to if you ever want to get into the whole idea, the whole process of developing and creating your own artwork. And I want to submit to you that in the future, it will be very interesting if we go ahead and explore each one of them in more detail, do a couple of demos and examples and just try to, let's say, get the full meter to the whole thing and just get the spirit of each of these elements. This will be a very fun thing to do in the future. And I want to once again, thank you so much for sticking around and I was surely see you in the next one. Thank you.