Principles of ART: Balance/ Learn to Improve Your Composition

1. Introduction: Hello, I'm Jennifer Moore had, I'm so happy to see you in my class. This class about balances, really learning about putting together visual art elements and arranging them together to form a very visual equilibrium. And you really get to learn so many things I cover our appreciation. I compare an analyze painting, I go in and dissect paintings. Directional lines are focal point, negative and positive space. The differences of the symmetrical, radial and asymmetrical balances. And I go a little bit further and do a separation of the formal symmetrical balance with a symmetrical balance. And imbalance. Simply do some exercises and we do a wonderful project in the end, the art materials that you'll need for the class, or a pencil eraser, pencil sharpener, drawing hat. You are welcomed to work on any medium that she wanted to. You can apply what you learned through these exercises. Formal symmetry, symmetry, radial, asymmetry, and imbalance. The project on a large canvas, I work in acrylics, so you can see the different art elements with color as well. And I show you the process. This is the final project finished and what was neat about it. I entered an exhibit and it won first place. There's a variety of ways to be learning this. So it can be for anybody because you'll learn something. If you feel like you need to learn more about the art elements. I also teach those courses which is in color and line and shape and texture. Who can benefit from this class? Find artists, graphic designers, animators, interior designers. Basically, anyone who wants to learn about art and a fund manager in my classes, what I do is really give you as much knowledge and information in a way that's very understandable. And I want you to challenge yourself and have fun with it and really excite yourself with this class. I really thrilled about this class and I'm so happy you're joining me. 2. Achieving Balance: Achieving balance. Let's start with what is balance? Balance is an even distribution of weight enabling someone or something to remain upright and study. Well, that's an Oxford definition of that. Here's the definition balance in art by white balls. And it's pretty interesting because they really cover all the aspects of balance in art. Referring to the artistic elements such as line, texture, color, and form in the creation of artworks in a way that renders visible stability. We're so familiar with things of weight of a physical sense, but we're looking at art in a visual element because we're gonna look at 2D versus sculpture pieces. In dealing with this balance, It's one of the principal organizations of structural elements. And these are these principles of art. So to simplify it, down, is basically an equal distribution of these visual elements in a piece of artwork. Now why is balanced important? Balance is very important in the art world because it creates a visual harmony and the art keys, so it's very pleasing to the eye. It can also create a coherence and bringing the artwork together as a whole so it completes the piece. We will be discussing five different balances. The main ones that you will hear about in the art world are symmetrical, radial, and asymmetrical. I've added two of them just to define them a little bit more for you to see where it's placed, such as the formal symmetrical balance is a little bit different from the symmetrical balance. And then I added the imbalance. There is artwork that doesn't have balance in there, but it's still does work. Another thing that plays an important part with balances. What are you trying to say? What are you trying to convey in your artwork, by your subject matter and message, there are differences in balance and they can achieve a sense of liveliness, sense of tension. Recombinants, Party achieve balance is through the arrangements of your art elements. The color value shaped lines checks her form and space, which is into perspective and positioning of items in your work. And all of these play apart. Sometimes they're not altogether or one is being played, or you have to understand these elements in order how are you going to use them? For instance, color. One example is it brighter colors have a more visual weight, the neutral colors, lines, heavier lines have more visual weight than lighter lines. If an item has more texture to it, that creates more weight. I'll be explaining these different elements and how they apply to balance within this class. Here are a few of my photographs to start explaining balance. But you have to understand also in a two-dimensional format. It's on a canvas or paper. So it already is in some kind of square or rectangular or circle format that the composition is placed it right now I've got a square format. Looking at this, this is considered symmetrically balanced. You'd have the tree in the center and you have a vertical access pretty well going through the center of the piece. You also have a horizontal access dividing it and the images on either side, there's enough there to balance it out. You have a short Bush on the left, kind of balancing out the tall tree on the right-hand side. Here we have something heavy barn on the left. And then we have this red tree. Well, the redness of the tree is so bright and intense. The whiteness is also very light, so they really push against each other with the color. This is considered symmetrical. Now if I pull away from it and add more elements to it within this rectangular format, it's still staying symmetrical because you have that tree on the left with another tree that both of them have enough visual weight against the red tree. And then the barn kind of seeps back into space. So it becomes smaller. Here we have to my horses. And this is symmetrical. Shapes are similar. And then if we push it away, it becomes asymmetrical. There's a lot more involved in there that's giving me a balance. Asymmetrical. Best way I could describe asymmetrical is the feeling of balance. And that's the hardest one to achieve because there isn't that exactness to it, but it has that feeling and that's where those elements come in to remember what I said before about color. That brighter colors have more visual weight than neutral colors. So that bright red sky, especially the yellow and the upper-left, balances out visually with all the neutral tones of the grass in the pasture and the horses. One thing about landscape, it already has a sense of balance within it because it has your horizontal line, which is the Earth to the sky. And then it has vertical things which could be buildings, are trees, so it has a sense of balance to it already. It really attributes to something that can be somewhat tricky balance pretty much right away. Although in this one, because I've have different objects in it, the fence that comes close to you, so that deals with size and the perspective element of the barn being further away. Although you know, the barn is larger than the fence. But this is the visual weight that we're seeing here. And then it becomes asymmetrical. Here we have radial balance. It radiates out. It usually is in the center with everything coming out from the Senate. Radial balance is also very similar to that, a symmetrical balance. In the next segment, I'll be demonstrating with an object from nature how to look at balance. It's really fun and a simple visual way in explaining balance. 3. Harmony of Design and Proportions: Balance, harmony of design and proportion. Balance. I thought I would start out with something rather simple of an object just to begin to understand what balances all about. And through this class, I'll be really using a lot of natural things to describe balance. So I found this leaf that I thought was quite interesting because it really has such a unique quality to it by the lights and darks and also the line quality. We certainly have something here to really describe balance. In this class, we're going to be talking about three types of balance. One, symmetrical to asymmetrical and three, radial. Symmetrical balance is something that is very evenly balanced. It can be almost something that is mirrored like this leaf formation would be considered balance. It's pretty close to that feeling either side that you look at it. A shape along each side is pretty equal, although it's not exact, but it's close enough to be that of symmetrically balanced. Now let's look at this in a different way of something that's asymmetrical balance. And this becomes quite interesting because it's a, it's a feeling of balance. Both sets of balance are very important specially in art, because balanced portrays a certain feeling and a certain way of looking at things with the asymmetrical is very straightforward. It's com, it has more of an exactitude to it. And it's a formalistic way of looking at balance. When you go into asymmetrical, it starts to change and it can create a little bit of intensity to it. And let's start by just, I'm going to tear into it. And we're going to just take a piece out. Now. It's changed things dramatically. The shape itself, we starting to look at a negative shape. We could place that negative shape close by for creating tension right away. So things can change so abruptly by all-terrain and looking at balance, let's move this aside. Take it out of the scene. Let's do to the same to the other side is Vestas. I can take a piece out. Now. I've gone back and made it symmetrical. It's not perfect symmetrical, but it has a symmetry to it. And looking at this, you can go back and forth. You can play with things of balancing out, wait, with smaller objects. I can put two of these on this side. It alters that balance of feeling in looking at this particular space. So balance is so effective. And the idea of working with art, even though you don't need balance to create a good design, balance will help create harmony within your piece. Now we've done asymmetrical and symmetrical. Let's go ahead and do radial. And I'm going to split this right in half. And radial is something that is going to move itself the direction of going out like a circular formation. So let's let all these lines radiate out. Place them radiating out extra pieces here. And this is really a symmetrical balance. It's radiating out. We're, all the elements are pretty well-placed equally. And there's a central point, very strong focal point in the middle. So then we have our three balances, symmetrical, asymmetrical in radial. Let's go to the next segment and we'll further investigate symmetrical balance. 4. Formal Symmetrical Balance: In this segment, we'll be working with formal symmetrical balance has been human. We can relate to this formal balance, the symmetry because we are bilateral in ourselves. You can see this depicted in the maturity on man by Leonardo da Vinci that encompasses the drawing of the man within a circle and even a square. It has an evenness to it, formal symmetrical balance. This refers to balance that is achieved by arranging art elements of equal visual weight to both sides of the composition. There is a bilateral access, either horizontally or vertically, making each half identical like a mirror image, a formal symmetrical balance creates a sense of order or stability and as aesthetically pleasing. Next, I'm going to do a brief art historical aspect of balance and artwork that reflects its formal symmetrical balance. So you get a real understanding of how balance works. Uncertainty with his painting titled Mr. meaning magistrates are the artists cima buoy, and this is around 1431. This is kind of a Renaissance painting. You can see this formal symmetry going on here with all the halos and the heads that are even on either side of the Virgin Mary. It's very formalistic at formalistic tunes itself also to the religious entity of painting. I wanted to show you another painting by him, which is the Last Supper. And you'll notice for that looks odd, doesn't it? You still see the halo effects of all the parcels around the table. But it feels odd because the perspective is not their perspective as introduced in the Renaissance a little bit later. And we'll see one done by Leonardo da Vinci, which is also titled The Last Supper. Here you have a perspective element of the figures that are proportional, as well as the building's structure that goes into what they call a one-point perspective. But prospective becomes a very important element and the essence of balance here we have a formal balance, as you see all throughout the painting. Raphael adds a painter, also in the Renaissance, but here we have a painting called The Marriage of the Virgin, where it's happening here with balance, as you can see it, formalistic balance on either side, but the balance here is also used. What is very important going on here? And it's definitely the marriage. It'll be all the focus will be placed towards the center, as you saw in the last supper with Leonardo da Vinci, the Christ figure is in the center. Let's look at the background. We have this building that is very classical. Classical comes from the antiquity of classicism, going back to the Greeks and Roman art is about 1000 BC. And we see these columns and domes and those types of structures. Will the Renaissance pull that into their building structures as well? And we can see that even today's architecture of this classical approach to these buildings will definitely see it in government and bank buildings. Here we have another painting by Raphael. It's called the three graces. And how beautifully it's executed. You really look at the figures and the simplicity and the innocent of the figures of these graces. Balance plays this pleasing, kind of all placed together. So it's has a nice feeling that's being created here. You rarely see portraits done face on because they're almost deliberate to intensify. But I found this one by Raphael, I thought was quite interesting. You can still tell the feeling that's being conveyed here is the intensity of the man, the importance of the Manchus, by the way, he's looking at you, it feels statically pleasing. He really looked at his eyes and his face. The background is muted as well and the face is highlighted because of the wardrobe that he's wearing that's very black. And also in this Renaissance time, it's very naturalistic. So you have a realism going on in here. Now since you have an idea where this formal balance comes from in a historical aspect, Let's look at what it's applies to a more modern versions. So we're going to just jump ahead and see what happens. Here's a painting by Chuck Close of Lucas want, this painting is a 100 by 84 inches. This is done in 1999 when you're working with balance, what are you trying to reveal? What are you trying to convey? There are several things going on with this course, is how large it is. So it encompasses you, it's larger than life. This phase be this large, you can't help to engage with it, so that's one aspect of it. So having a symmetrical balance is taken away, all the confusion that's going on. It's directly related to you. It's located at you. Once you get the effect of it, the naturalistic, the figure looking at you, then you start to go into the pain itself and look at the painterly technique, which is also visually amazing. Chuck Close as a photorealistic painter, he's using all the art element to work into his composition of formal balance in color, value shaped, line size, texture form altogether. To make this work, Let's look at something completely different. Let's look at Frank Stella's work. Who's only art element that he's working in here is color and shape. So we're really seeing a minimalistic approach to painting within his work. So what is his content? What is he saying? He's just wanting you to look at color and how it interacts with each other, looking at it in a very minimalistic way of viewing collar, Mark Rothko, abstract expressionists, colored field painter. Here's painting. A color are not hard edge, but they're more floating images is contexts is what he's working with. Making the color feel more meditational. Mixed is Barnett Newman. He's a minimalist color field painters as well. Essence of here is hearted straight colors. Here he says about his work is to start from scratch to pain is a penny never existed before. He saw his compositions of forms of thought as expressions of the universe experience of being alive and individual. So this idea of just color, place itself becomes more of a universal way of looking at it. Or we have Andy Warhol, a pop artists with this soup cans, popular cultures, what he is exhibiting, Georgia O'Keeffe, a monitors painter, and she made things large and close up so that she noticed that he had Bridget Riley apart, apart as optical art. All she's working with these lines here we have MC Escher, he started as a mathematician, but they're really look at the geese that are flying to the left that are black. But then if you look to the other way than their white, so this is also collusion to it as well. Come join me in the next segment. I'll be getting a painting, interpreting forms of nature as my subject matter. I will be using a formalistic balance. 5. Exercise #1: Formal Symmetrical Balance: Let's start making art. We're gonna do our first exercise of the formal balance. With our formal balance, we're trying to find something that has definitely this mirrored symmetry to it. So look for objects around you, look for something that you can draw directly from and observe what you're looking at. This is attracted at my friend's place and I thought boy is pretty intense and I never really looked at it as symmetrical as it is. Next is I looked at my puppy dogs. Bella wasn't too thrilled with being taken a picture, we're so close. But there's symmetry again, like humans, there's symmetry and dogs. And here's one of syrup. For this exercise you can work with. I worked with just with ebony pencil and drawing paper. You're welcome to it with the colored pencils, acrylics, anything that you would like that would interest you. This is pretty basic for those of you that are just beginning to learning about this, this is a great exercise, but if you're more advanced, please take advantage of this and learn a little bit and also challenge yourself with this and this exercise one I'd like you to choose an object to work from. Secondly is to draw out a border format to work on. Break up your format into quadrants and really observe your object that you're gonna be working from. And if you need to, you can simplify your image to produce this formal balance. My studio right now, and these are the items that I'll be working with for my exercises. I have rows and I purchased as well as a bunch of daisies. It's wintertime here, so I don't have any real flowers outside that I could use. I'm going to choose the Daisy for this first one being the symmetrical one. For my first two exercises, I'm going to use the same sheet of paper, but I'm going to create an edging for them. If you're composing, you have to have something you're composing two. So it's just not a huge mass, but you want it to fit within the format. I'm going to start with doing my formal symmetrical. Now you can tell that it's almost perfect the way it is. It is absolutely beautiful. I think nature really is a wonderful guideline of making beautiful art. But I'm going to have to take it a step further because it's not exact and informal. We have that mirrored image. I've divided this section into four equal units, quadrants. You can see I'm moving around. This flower is so much, I've lost a few of the petals. But I'd still going to get the major idea of what I'm drawing here. As I look at it, I've got a center round piece. So I'm gonna put that right there. Right in the center. Is, even as I can. I'm noticing two layers. One layer of these petals coming out. Then the second layer. What I started to look at is what is the shape of the petal? Obviously, I do know because I lost a few so I can definitely see what they look like. I can create this shape very evenly. I can start right in here and have it come out. Go out about that. Start one on the other side. Since I'm hand doing this, it is not going to be perfect, but I'm going to get it as close as I can. That would be the way I would begin. And I'm then going to have to think about, okay, my spacing in between these. I'm gonna give it a little bit of spacing that I can well, it doesn't have it it overlaps, doesn't it? Some has a little bit I need a big that decision. What am I gonna do? I am going to leave a little bit of spacing so I can put my other layer behind it. I'm going to figure out how many am I going to put in here. I think four would be. No, it looks like three would be nice. So I'm going to divide these into three units. Everything's gonna be equal. Now the markings I made, I would have to draw it in-between there to even them out. So that's what in here. And of course they're not as even as I like. Pretty good. Come on a little bit. Too bad. I'm going to continue on with the same type of mythology as I'm drawing. Almost finishing up here. Some people really enjoyed doing this type of drawing, its pattern formations and really has some very significant value in it. Just have to choose what you like and it's important to use. It's a little bit harder for me. I like I'm a little bit clean and neat, symmetrical type of things, but you get an idea of what I'm working with. I'm using my flower is an image to work from versa, just going out of images in my mind, I kind of like working with something to start with. If I look further on this, It's certainly has a little more layers than those as Zach T2. I could play with it more, but I think I'm just going to keep it as a double layer like it is. I see it right here. I will put it right behind this. Looking at it, it's a larger we can see with the ones that I pulled out. We can see that it's certainly larger than the ones that are closer in, so we'll make it a little bit larger. And I'm just going to take the larger shape and go right in between my other two petals. Looking at it again, problems in here and here and here, then I need to address. This is coming too close to the edge where it's not here. So this little few things I needed to clean up in here. I know this one has should've came out a little bit more. Close enough to the idea of this. I think it makes it quite interesting. Beautiful image doing it. My very formal. You think, well, why would you use this for? You could use it for definitely the type of advertising. Something that, and I can just see it a lot of ways. And also patterning effects have a lot of things that are very symmetrical in them. I think it's fun. You can think of colors and everything else. You can go with it right now. We're working with lines and shapes, implying fool with a format and a wire going in there, but they just needed to. Here we have our symmetry. Let's continue to the next segment and learn about symmetrical balance. 6. Symmetrical Balance: In this segment we're gonna be covering symmetrical balance. As you can see, these cats feel like they're symmetrical, but they're not exact, they're not identical. In fact, the lower cat is Sasha, the mother to the kitten above her Oscar. Another term for this can be a approximate balance by axial having two-axis near symmetrical. Here's a very famous portrait called the Arnold Feeney portrait, done in the 1600s by Van Eyck. This is a really excellent example of symmetrical balance in regards to the social status. It's, everything's carefully placed in here. It's rather complex. The lighting, especially it's very important coming from the window and highlighting all the figures and the objects inside. You have this wonderful balance from the chandelier, the two figures on either side all the way to the fluorine and even the sandals on the left that are not being worn shows that there's something sacred taking place. The little dog and the bottom is representation of fidelity. Beautifully done. Colors are very harmonious and it's not formalistic, but this balance symmetrical has still has a formality to it by its presentation and trying to show the details throughout the piece. Let's look at another way of looking at as much go. Penny, this is by Raphael. If you'll notice it has almost an S curve. That is the access throughout the painting. You look at the focal point of her face and it moves down to her right hand and then down to her left hand. It shows a nice flow throughout the piece, but it's very symmetrical. Here's a painting by ket, similar in the way it's divided, but here's, has so much movement and action that's going on so that the symmetrical paintings don't have to look so stoic. It can have movement throughout the piece. Here we have one by David, very classical approach, as you can see, it's divided in the middle. That's an axis. But on either side they have almost a pure middle effect to them to balance them out. I'm going to show you a group of paintings by Franz Marc friend spark comes out of the Blue Rider. They use a lot of bold colors. Rider were expressionistic painters. I believe that blue is the most spiritual color and that the rider symbolize the ability to move beyond. He's a German expressionistic painter as well as a printmaker. But his symmetrical aspect in here is pretty well evenly balanced. And I think it's kind of exciting because there's so much intensity and vivacious business to us approach to composition. Let's try thighs share with you a few of his paintings. It really works with this concept of symmetrical balance as we divide the painting in half and we look to the left, we have two horses and this white whispering, it looks like possibly a tree in the background in comparison to the right with the one Horace, who's much larger and has a larger whispering of this tree coming through. But it divides the horse up as well because the horse's head is in front of this. There's so much going on as subtle as it is, but I think it's very interesting to show this particular piece in this series of work, he uses animals and they symbolize an Age of Innocence. And you can see with this one again, and it's also symmetrical that it's split in the center with the horse in the middle and the two horses on either side, we have these two cats here. We have almost a bend in between them. The divide them. The dog pretty well evenly placed in the center of the piece like the painting of the fox, we have this cat behind the tree, the tree having the access flowing through it. Let's look at a different approach of using color. And this is in Claude Monet's piece. Here we have softer tones and hues that are being used in this particular painting. It's very symmetrical, it's very harmonious. Rehab. Another landscape by Monet. And again, you can see the symmetry very much by the four trees and very evenly broken up, but it really gives you a very peaceful way of looking at it. Here we have one by Descartes, this figurative piece, it beautifully, the figures placed where arm is an adjacent to the foot that's resting up above and having a complimentary coloristic approach to the symmetry of the orange on the right, to the complementary color of the blue on the left here we have a contrasting element that we just saw from day God's peace to Matisse's piece of these vibrant colors of the figures and the movement of that circular elements that are happening with the dancing figures as well as the background is very dark of the blue and the green that's being pushed back. But what a difference, but here we have symmetry and harmony. Here I have a painting by Gauguin. We have the background of the sand, the water very horizontally place. And then we have the two figures next to each other, giving it a sense of balance. Here we have a painting by Magritte. Now let's talk about positive and negative space. That negative space of the figure on the right that shows the sky in the background. Then you have the figure as a positive on the left. So this creates definitely a symmetrical balance. Here we have a beautiful painting by Diego Rivera with the main figure in the center, and then the two females on either side. They're not exactly alike, so it's not identical, but it's certainly the attributes to this wonderful symmetry, the size, shape, and coloration. Again, think about what symmetry is conveying. You have an overall sense of balance. It's not identical because there's changes of color on either side. But this pattern, and that's what's the work. And last in this segment is Keith herrings work. He's really wants to communicate in a very simplistic way and using symmetry surely is effective. And the way this is being portrayed, having shown you a variety of ways that you can create the symmetry, Let's move on and go to the next segment. And let's do an exercise on symmetry. 7. Exercise #2: Symmetrical Balance: Exercise two, we're gonna be working with symmetrical balance. This is a painting I created and this is of a clover flower. When I moved out to Kentucky, I just had fields of clover. I've never really noticed him like that. And I tried to look up real close to it and really was amazed by the beauty in it. Why I made it so large on the canvas and place it towards the middle and made it symmetrical because I really want to convey the importance and the beauty of this small delicate flower. Look around you and see all the different types of symmetrical elements that and find. For instance, I was looking at my neighbor's barn again as I saw that attractor before, but really enjoyed seeing this corrugated metal on the side of the barn. The pain is off and it's kind of rusting. It's just really interesting. Also just a stack of bricks. This is symmetry. Look around you. I've working with just like before and exercise one, I'm working with IBD pencil and drawing paper. You are always welcome to work with any type of medium that you so choose. We're gonna choose an object to work from. I'm drawing out a border. You can break up the format into quadrants. I'm not gonna do it in this particular project and really observed your object. And I'm again going to simplify it. I'm gonna do my symmetrical one. Here. We habit formal, That's very even. So I've chosen a different flower, little bit different in regards to, has a little more play with the different petals. And how can we make this look symmetrical? Which it is? And maybe even a little bit more. I don't necessarily have to go straight in the center. I can go a little bit off. I can still do my petals. I'm going to play with them like this. You notice I'm just having more. I think it's a little more fun to do this way, but again, it really depends on what you'd like to do. What do you want to say to your audience? How do you want to convey the beauty that you're seeing here? I'm just doing it with line and pencil, so I haven't even introduced colors, as you'll see a little bit later in this class. I'm gonna go a little bit bigger back here. I see more indentation here. Now. This is considered symmetrical. I couldn't even have a little bit of my stem in here. You see the difference, symmetrical formal symmetry. Very much different. How FUN segment I'll be introducing you to radial balance. See you then. 8. Radial Balance: This segment is on radial balance. Here's a stained glass of the stress or Cathedral in France. But let's look at the design itself. This is a radial design. It's from the center moving outward and it can be very symmetrical. It can be very formal, holistically symmetrical. But the main difference, it's from the center moving out. Now there's a term that's used for these and it really covers a lot of different centuries and, but it kind of has the same type of meeting. These are Mandela's, basically, the Mandela is a geometric design that represents the cosmos and the deities of the heavenly worlds. So it's pretty exciting and it crosses over into Catholicism, Hinduism going into the Mayans as well as the Australian Aborigines show you different Mandela's from several churches just to see how different they can be. Here's run from San Chapelle in France. This is a cathedral, the Most Blessed Sacrament and Detroit, Michigan. We have one in New Zealand, and here's one from Louisiana, all beautifully executed, very different in the stylization. So it's kind of amazing in the process of drawing the Mandela, it makes you feel more peaceful and calmer. Your heart rate comes down. It just is a good feeling. Carl Young and said that this is a very peaceful way of feeling. So it's kind of your inner self showing yourself through. Here's the museum that's dedicated their third floor to the Mandela lab. And this is the result of this pandemic across the world and the feeling of struggles and frustrations that she can go up in there and meditate. Now let's go quickly through a modern version of Mandela's. There's such a variety of them is just unlimited of what you can create. Know I've shown you one aspect of radial perspective, but it also goes into other areas. This is a painting by monk which is considered a radial balance. You have the center of the sun and then almost like an explosion of a radiating factor going out, you'd probably very familiar with ever amongst the screen, you can actually almost hear the scrape and especially having his hands placed over his ears. But everything else kind of radiates out so it can imply a different feeling here we had something harmonious and feeling good. It can actually have different feelings, but it's how you compose it is what's really going to make your it come alive. There's a beautiful piece by Eduardo Rodriguez where it's smaller, spectrally imagery and just erupting in this wonderful continuous radius flow throughout his piece of work. Here's a self portrait. This has a different effect, but it's an explosion of inside out and still that radius. Here's more abstract, Li done and we have just shapes and angles that are radiating out. Here's an artist's I'd like to introduce you to her name is Frida Kahlo, herself portraits. I noticed her balance that she uses a radial balance. You definitely look at her face, that's the focal point. And then you have a lot of symbolism that will go all the way around from Frida Kahlo.org website. This really explains her very nicely in a very short description. She's a Mexican artist, Frida Kahlo, and is remembered by yourself, portraits, pain and passion and bold vibrant colors. She is celebrated in Mexico for her attention to Mexican and indigenous culture and by feminists for her depiction of the female experience and form. Here's a quote by Frida Kahlo. I paint self-portraits because I'm so often alone because I'm the person I know best. Let's really look at her piece of artwork here we have three things that are so important that's going on the focal point path of vision and viewing the whole artwork. The focal point is your face. The path of vision is where you look next, which is down with that bird hanging off her neck, up to the left side, which is the monkey to the right side of the panther, and then up to the lighter leaf formation that pulls you up there because it's a different coloration that into the top where her flowers are placed at the nice part, you're going to view the whole artwork again because it's going to pull you right through it one more time. That's what makes an excellent composition. Now let's look at how completely different this portrait is her choice of colors. You have that beautiful blue violet behind her portrait. And then you have these flowers radiating out in this portrait. We have a completely different look. It's more realistic in the background. Now how would the flow being here? Again, the focal point is her looking at you. The second thing that you'd look at that and the path of vision is to the left of that grey leaf formation. And you see a little banding underneath the bottom part that takes you across and his wave pulls you up to the right-hand side because of the shapes that are pointing up and bringing it back to the beautiful flowers that are placed on her head. Back to your eyes. Wonderful. These are amazing self-portraits here we have her again, her face, but it's the positioning of the birds. Where would you look next? The bird to the right because he's kind of looking at you or deeper to the left, either one, but you'll see one of those birds and it will pull you down to the other birds that she's holding close to her. Again, you have this radiating effect moving through the artwork in this portrait receiving less color, those vibrant colors that we saw before, but these colors are more subtle. But the differences do you see here is the intricacy of the fabric that's radiating out. So there's a difference of what you're putting together and how complex you want it. And here you have a, just a beautiful radiating flow. Here we have another supports. It looks very much like that. With that beautiful lace radiating out from her face. I hope beautiful. Let's go into the next segment and let's do an exercise. I'm radial balance. 9. Exercise #3: Radial Balance: Exercise three on radial balance. Look around you and he could see a lot of different radial balances. I started with my plants and looking at the center and having it move out. Quite amazing when you really begin to look at a lot of things. I looked at seashells. And another aspect is even fruit like an orange. This will be very similar to other exercises. I'm just working with ebony pencil and drawing paper. Choose an object to work from, draw it out. You can border this if you'd like to. I'm making this one a little bit larger than my other ones. You can break it up into quadrants and really observe your object if you need to simplify your image. Now for radial balance, we could be using the daisies as well as you can see. They project out from the center. So that would definitely be radial balance, but let's try something different. Let's start working with the rows. This also has a radial balance. It starts the center and it kinda unravels as it goes out. This radial balance could be very symmetrical or could be asymmetrical. He could really play with it. But it has something that's moving from the inside, coming out. I'm going to start with the inside. And I'm going to start over. I'm gonna go offset a little bit. I'm going to have a really thick kind of center here. And I'm gonna start looking at it. Let's starting to unravel it. As I come around. It doesn't have to be exact. It could be if you wanted to. Again, that's up to you of how you want to manipulate your imagery. I kind of like having the differences as it flows around, but you can definitely see it moving. I'm folding. I might add a little bit more than it has here. I can play with the imagery as I'm using this as my resources, my point of vision. Can you see it and my lines, I'm really looking at how the shapes are bending. Movie. Really like what's going on here already. Now, for my direction here, I'm a little bit on the side versus the way you're looking at it. Just a little bit more like this. But I really love what's going on. I'm going to go a little bit further out. Really make it come out. And they're gonna go real delicate with the edges here because they are not all perfect. It out here, maybe just coming back with that little fold, their radial. I could come in and assert to model a little bit in here, giving it more of a 3D effect. He's certainly, it would be wonderful to come in with color and texture. And there's just so many other art elements that can add to this. You really know, have to know these aren't elements of which you want to introduce are good to the piece. I like giving a little bit of depth. It adds a little more, I think a little more form to it, more interest. That's my objective. But I want to work on I've got all this space in here and I've got this. What could I do? I could keep going with it. I can pretend this is the center and then it's not finished. I'm gonna do that. I'll make that as my little one right in there where I was just playing with all of it. So I'm gonna look at the center a little bit more and just play with it and just move it all the way out. There'll be kinda fun to take these outer edges. Maybe I might even bend back. Don't last long with me. Oh, well, I wanted to just kind of bring it out a little, just a little bit more as I can see it. Fun. Flowers say man, when he got kind of a shape going in here. So I'm going to really accentuate that back here, bringing another shape coming in and coming back to the piece. Now, having finally going off my edge here, I've created a border. I'm cropping the image by going off. That's okay, because I wanted to make it more interesting. My page here than what I had created here. I'm gonna go off a little bit in here. Maybe come back. An extra one there. Maybe just a little line here. I'm happy with that. Boy, and that's fine. You can just take one thing and just keep expanding and start thinking about The ultimate goal of this is my composition. How interesting is it? This format? By using just one of the principles of design and art and design. His balance is really my main focus. That you really need to know your art elements. The whole purpose of this piece of artwork is your composition. Even though we'll get to a point that I'm gonna be looking at things that don't work. But there's a reason why I really like this in here. Because what I'm doing, I'm balancing these shapes. Love it. How fun is that? Enjoy, look, explore. That's the whole aspect of looking at art. Is always effort, ever changing how exciting. And our next segment is on asymmetrical balance. And there's really a lot to understand and it's exciting. 10. Asymmetrical Balance: This section is an asymmetrical balance. Asymmetrical balance is where the two sides of the artwork are different, yet the visual elements are arranged in a way to create a feeling of balance. Now you're symmetrical and your radial balances are pretty easily defined there. You can almost put anything together because you can balance it out equally. Or when you're dealing with asymmetrical, you really have to know the differences of different visual elements of weight of your color, of your line, of your textures is where I look at things, is to be aware of the positive, negative space or shapes. You can visually see that feeling of balance. Your eyes are automatically are searching for a place to either rest or play set is different from something else. And it's kind of this intuitive feeling that we all have. And that's what we have to go on to get this feeling of balance. As your eyes are searching, you're seeing all these lines heading towards a certain area in this particular painting. And if you look, your eyes are gonna go to Vocalpoint. The placement of the focal point is very important. Here we have a painting by Van mirror. It's very dramatic, and that's another thing with asymmetrical balance, you can really create tension and drama within your piece of artwork, we have this heavy drapery folds on the left-hand side. You can help or that even the visual aspect of it to have that weight. And then you have the lady to the right. She's very light. So you have things that are very dark all around and then you have this light figure. Your focal point is definitely going to be heard. And to balance her out within all this space, you have that heavy drapery folds. So this creates that, that visual weight of asymmetrical balance. Next is the path of vision. So from the woman's face, which is really detailed into the focal point, then you go down the lines of her dress to the floor. The floor has a pattern to it that has a diagonal that pulls you to the left. We have the curve of the drapery folds, pulls your across to the wall unit and then down again in vector her, That's an excellent composition and that's movement of space in line. Here's another asymmetrical painted by Vermeer. Here we have the focal point of the figure on the right. What do you see next? Yes, it's the woman next to this very bright angle of the wall. Then you have this strong diagonal. What a wonderful asymmetrical composition. These are pretty interesting paintings and Robert Huber, that's pretty dynamic. And the way he's approaching this, you have this huge building structure on the right-hand side and this monumental structure on the left, a very dynamic sky in the background, which is blue and lighter. You almost have a division that's diagonal in this, you have a path of vision that kinda balances each other out with both units on either side giving you that sense of balance. Then I saw another piece of his work that almost has an identical way of how we visually balances his work. Dramatic sky. You have the tree on the right, you have the building structure on the left. This is that asymmetrical balance that's going on. And here's another one of his pieces, and I think this is pretty interesting is another division of visual weight is the foreground versus the background. Very defined here. The foreground is very dark and the background is very light and ominous would really is important to this one to give you another visual identity is the size of the people. It gives you the scale to the proportions. Otherwise, if it was just this rock formation, you wouldn't know if it was an inch tall, but having the people there will give you a proportional relationship to it. So now you know it's very massive. You have foreground background dark colors weigh more than these neutral colors in the background there, the size of the shapes. So we have size going in here. And again, the size is scaled by the people. This is a famous piece of work that I thought I would just bring into this. I have a few of them and then we'll go a little more abstractly after this, I want a nice comparison analysis between them. Here we have the size of the shapes because we have these boats, these boats indicate smaller version versus that wave. Knowing that's very massive, you have the intensity of the wave, the darks and the lights create attention. You have the movement of line and you have a heavy usage of line because they're very outlined. This causes a lot of drama within the piece. Here we have starry, Starry Night by Vincent van Gogh. Very dramatic and the essence of how this is placed. Another thing that's happening here is texture. You have the texture and movement of the sky in the background. So it's not really soft and ominous like we had seen before in Hubert Work, but this becomes a very dramatic and active. You have two things that are happening here that it well, almost three things. You have the cypress tree on the left-hand side that's very large and dark. You have the cloud formations almost has a Yang Yang effect. To the very corner, you have the Moon. And that's very light and warm. Warm has a visual weight much more powerful than it has the blue. So that warm really comes through. You have a lot of action going on. Next, we have the persistence of memory by Salvador Dali. This has a lot of things going on in here as well. Foreground and background. Foreground is very dark, with the background being very light. That's certainly has a visual weight and division to it. The large shape in the corner, which is the left-hand corner, and it has a warm coloration to it. So that is going to produce a lot of weight to it. You have hard edge versus soft. That's another thing. Hard edge objects are heavier visually than software objects. And this becomes very dramatic. And of course, because the watches, we have everything very realistic in here except for the watches because of the actual Watch itself is soft versus being hard. We reviewed a little bit with realism, with premieres and who bears worth. We saw a little bit of NGO and expressionism. We've installed Dali's surrealism. Now let's go into impressionism and a little bit of abstract works of art because it's so important when you're analyzing these asymmetrical balances and works of art that it gives you really the greatest way of learning this process of understanding balance. I'll see you in the next segment. 11. Asymmetrical Balance II: Asymmetrical balance part to Mary Cassatt, this piece has to be one of the most wonderful compositional structures. I've used it in art appreciation and found it amazing. You have so many things going on here. But when you look at it, it just looks like a sudden he had taken a nice photograph of people in this carriage. She has a lot of cropping going on at focal point. And then we'll go for the path of vision and really play with this. The focal point is the young child, the lightest element and the piece that is why your eyes go towards that. Also, when you have a person, you, your next path of vision is going to go where she's looking at. So we're gonna go left. We're going to follow the rains the woman is holding and then come down and follow the harness on the horse, go towards the carriage, go back up. Then you see the rider in the back. He has an angle to him that puts you up there, goes over to the woman, and then moves you around again. It is absolutely magnificent and it's by color, shape, Positions, positioning your elements in there is so important. Here's another painting by Mary Cassatt. She has such great paintings that are perfect examples for understanding asymmetrical. And I talked about before about how important were the placement of the focal point is. And that's because an asymmetrical, you don't want it in the center nor in the corners because your eyes have no place to go after that. So it's so important of these directional lines in how everything is placed and organized. From the focal point, you'll look down at the child. The child's looking at the man. So it goes across to his face and this is in yellow. And then it's gonna go where he's looking is to your left. Then we're going to go up with the orange where it's the sale and move along that and back to the gentleman who's a large dark area. And the width, the light blue is going down across and backup to the woman. Excellent, in regards to your wanting the viewer to look at your whole painting, but without knowing, it's just, you're being invited into this wonderful painting and just exploring through it. So very good. I also shared with you before, how important is that how I do it with the positive and negative space, the positive space or the objects. The negative space basically as the background. And I'm going to show you just the negative space. When you look at the negative space. Is that interesting to look at? If it is, then that makes a good composition. Now what is she trying to communicate in her painting? A pleasant afternoon on a boat, She's using complimentary colors, warm and cool. The values of darks and lights, they're not real intense, so it's not too dramatic. The soft shapes and how things are placed. Here's another impressionistic painter, Edgar Degas, on the same air of America sat here. He's doing some different approaches to this asymmetrical design. First of all, let's start with our focal point. And if you don't find it very quickly, close your eyes for maybe ten seconds and then an open your eyes and where your eyes go first will be the focal point. Let's go with our path of vision, which is our directional lines. And there's actual lines from the face of the man. His coat is an actual line. His umbrella is an actual line that goes to the young girl's face. Then we have the looks of the two girls going to our left. Those are implied lines. Here's a short definition of what implied lines meet. It's when the viewer's eyes connects other elements of an artwork to create a line. Here's an example. If you follow the dots along it, creates it a wine and has your eyes follow. And we go to our left there. And the man on the left-hand side is an actual line because it follows a line of his body. And then he's looking to the right implied line, going back to the focal point, Let's look at the negative and positive space within his work. There's a lot of negative space in this particular piece, but it is still broken up. And quite interesting, if you'll see in the very upper left-hand side, he doesn't take the head completely off, but there's a little bit of the base behind there. And then there's cropping. When you're working with figures and cropping them, it's a good idea not to crop them at like a wrist or kneecap, either go above or below, even on dogs and animals. You'll see that with the child on the right, the man, the other child, the dog, the man on the left, and quite importantly in that corner, the head is not completely off. If it was, it would feel very awkward. So he's left just enough of that negative space in there that keeps that figure within the picture plane. And another element in his piece of what we saw Married cassettes were her color scheme was primarily complimentary colors, whereas to gauze color scheme is a monochromatic color scheme. He's usually primarily one color with its darks and lights. This makes it very harmonious, impulsive together via a lot of vivid colors in here, your eyes would be going every which way and has intent is to have a casual glance that looking at the park, very subdued and harmonious. In this segment, you've learned about directional lines and path of vision implied and actual lines, focal point color schemes, cropping and negative and positive space. Let's dive into the next segment and analyze the usage of asymmetrical balance with abstract art works. 12. Asymmetrical Balance III: This segment is about dealing with asymmetrical balance within abstract work. Abstract art is an art that does not attempt to represent an accurate description of a visual reality, but instead uses shapes, colors, forms, and just roll marks, lines to achieve its effect. Let's start with the first abstract art. Not meaning that there was never abstract art before this, but this was the first abstract painting that was accepted in an exhibit and this is by Kandinsky. This was 1910. He even wrote on the back, abstract art. I thought this is an interesting perception about his work. Kandinsky viewed objective. That means there's nothing there specifically of a visual reality. It's not a figure that you're seeing or tree. So this is called non objective abstract art as the ideal visual mode to express this in a necessity that the artist wanted to convey more of a universal human emotion and ideas. You viewed himself as a prophet whose mission was to share this idea with the world for him betterment of society. Now, let's go back and look at his peace color. The color is very vibrant and translucent and areas. But look at the positive and negative space at moves throughout the piece. So it's visually interesting and look at abstract work necessarily need to see something that's symmetrically balance, but similar things that pull us through. So there are similar shapes in here of the circular forms that are going through, that's pulling us through. Let's look at another one, a Kandinsky. So you can certainly see the pattern formations that are being achieved here on the left to the right. So there's similarity in that. It's a fun adventure is another one of his meetings. It's called composition. So you don't necessarily have to look at the title to decipher what's there. Your focal point definitely is in the left-hand side. It moves through the piece. It almost has a musical action, so it's fun. It's something that you can entangle your ideas and imagination within the piece, you really have to know the basic visual elements he create abstract art as well. I love these six paintings by Piet Mondrian. It shows you how he starts with the tree and that was a series that he had done. And then he slowly breaks it down into non-objective, basic visual forms down two squares, lines, shapes and color. Now you know a little bit about color, which is your visual weight here. What is going to be the strongest one? The warm is stronger than the cool. So the red and the yellow are stronger. So you're lighter area and the red, the kinda go to the left and then back to the right. Here's another one. He's got to graze areas there with the red. Obviously, the red is so much different from everything else and that's your focal point, but wonderful and moving. This is certainly not objective. There's nothing there to show you that it's a tree or figure. I'll be showing you a handful of artists that were very important to abstract art. And let's start with Jackson *******. His painting was about action, that actually the process of painting. And it's very linear, so you have lines going through it in color. That is the two visual elements that you're seeing. Well, one more will be texture because it has a 3D effect to it as well. When you look at focal point, your eyes move everywhere. If you really saw this upfront on the wall, you'd be able to see a little bit more detailed and it would probably have you move through it much more than seeing it in a smaller version like this. That's another thing about abstract art. But they're usually very large, which makes you really have to encompass into the painting and be a part of it because it's so massive. Ellsworth Kelly, He's using squares, so similar in shape all over the differences that you're gonna see here, the variance of color and then the white shapes become the negative so that it creates an action and movement through the piece. Here's one by Joan Mitchell. If you would consider her WorkBoard gestural, using lines and moving through the piece. And the idea of action, you can just feel the tension that's created there by the movement and color plays an important role. You can definitely see the yellow color on the left-hand side as your focal point. Because one by Sam Gilliam. Now he's painting not only on the surface of Canvas, but he's taken it off the stretcher and hanging it up. So that becomes a whole new direction into abstract art. Here we have one by Brice Martin, definitely linear, gestural moving. He's using two to three different colors in there, but it's making me move throughout the piece. Now you can see how what we've learned applies to abstract art. The directional lines, the path of vision, implied and actual lines, focal points, color schemes cropping negative and positive space. Now I'd like to show you a few of my paintings that I've done just recently. They're very small. I tried to attempt doing something abstract small. I usually like to do obstruction very large. And these are eight by ten inches. And they're painting on wood with acrylic. But I liked working on wood as I could. It really capture a lot of transparencies that is thin color applied on top of each other. So it created different dimensions in my work. So I did a lot of overlays. I liked the action painting of the strokes. And I introduce these, these squares and hard edge shapes throughout the piece. Kind of given it that positive and negative to it, I really liked how they came out. They have, they evoked so many feelings. I get more feelings from water and land and things like that. So I share this with you. I'll see you in the next segment creating asymmetrical balance and exercise four. 13. Exercise #4: Asymmetrical Balance: We're gonna start working on our exercise for which is on asymmetrical balance. Here's one of my paintings and acrylics. This is called flowering trees. I thought it'd be a nice example of using asymmetrical design. Again, I have a very basic way to do this exercise, but you're welcome to add more things. Even go abstract with this one if you wanted to. I'm gonna be using all three flowers. I will be playing with it a lot more with asymmetrical. You've lended yourself too. I think a lot more options, although a lot more difficult to work with, because it's that feeling of balance. There isn't any real specific structure, but once you see it, you will know it. This is where the thumbnail sketches become handy. Like you'll see my rectangular format. I will go ahead and create that several times. In there. I can do a compositional structure within seconds. If I had this here and I'm wanting to balance it out and trying to figure out what I want to do. What if I leave these down like this flower here and had the two daisies going this way. I can look at it one way, then trying a different view. I could go and crop it off over here. I have it larger. One of the daisies coming here for the last one coming off here. Can you see what happens, how different it can be? I can make it much smaller. The Daisy, they'd be coming off here. The other one, maybe this one maybe it's going a little bit further out on this side. Then I look at it as a composition. Lots of lots of dead space in here, here and here. Lot of unused space in these areas. This one's not bad. This one is a little bit too centered. This was to send it on this side. This one, it would be something interesting to do because I've got a nice open space here, here and here. Those are just ideas that you can work with. I just go at it because I'm pretty well sure where I want things to go and I can also make changes along the way. Let's see. Kind of want to start with this one because it's a little more difficult. The positioning where I want it were these, I can turn and play with them a little bit more where this is very, has a more solid form to it. I kinda like from looking at my sketches and kind of like it being right in here. That's where I'm gonna put this one. I'm going to start with 1 first, as you'll see when we do the project and I'll show you, I'd like to start with something down there because then you have to have something to compare to. Otherwise, if you are doing a lot all over the place at once, I want to give it some structure just to begin with it. So I have, I can kind of consider like a foundation. I'm not gonna be joined. A lot of detailing in here. It's just want to get a quick view of what I can do to create nice asymmetrical balance using these flowers. And I'm doing a little bit of modeling in here. You can add a little bit more, a little more form to it. Great about the eraser. I come back and clean things up, make them look a little more interest. On the side here. Now, I have to consider, I am using such a variety of these that I have to think of my strategy. Do I want to keep them? Obviously, I've gone off proportion. It's larger than life-size. I wanted to do that so it came closer to me. So I concert adding dimension to this of pulling things back or overlaying where this could be really huge up here. So I can play with soap anyways with this. And how do I also have to consider, which I consider this my positive space and my negative space is what's, what is leftover. Both are very important because they're combined together to unify the whole of the compositional structure. All right, I think I'll add a little bit of a stem to kinda wanted to do the steps. Really loved these small little parts to the flower. Find an interesting, definitely going to have them. And it also breaks up my space in here as well. They're pretty happy with what's been softened, something that's looking good to me so far. All righty. Let's see what we want to do next. Certainly have to use space over here. We've got here, so let's start putting something over here. And I think this one looks great the way it is. And it's kind of maybe be facing each other. And I'm gonna put this one. You don't write in here. My petals are coming out this week. We're going to crop it a little bit. I like things going off the page because it kind of gives like a photograph almost. I'm just very quickly placing things in here. I'm balancing. And again, you can always add color to this, which changes it totally. You'd have to be aware of what each thing has to do with another, but you can always go back and forth with it. Now I have two items. Pretty now I've got something going on which is getting asymmetrical here. They're going to continue with exercise number four in the next section. 14. Exercise #4 (Continued): Asymmetrical Balance: We're going to continue with our project on asymmetrical balance. Now I have these two items placed here, very evenly placed. The sizes are about the same. So what we're really getting back into is symmetry. I have to break it up more so I can choose different sizes, which I'm going to make something smaller right in here for this one. Maybe think of another one back in here to balance this out. Something back in here. Maybe something over here. I'm gonna begin on these stages and see where I'm at. I like this one kind of going on the side here. I'm going to flip this one up a little bit. As it goes up. This one I want to go maybe facing down a little bit more of an edge to it. Putting it underneath now are overlapping. This one, boy was poor flowers. Somebody wouldn't go this way with it. And I kinda like just quickly gesturing them in there. This one I would I think I want to bring it back up. A little bit of it here and then petals going here. Now I'm breaking it up and it's a lot more interesting. Notice that the negative shaping in here becomes just as interesting as the positive shapes. So it's making me go in and out. So I'm really excited about that. As far I think I'm getting where I want this to go. I'm going to just shade a little bit down here just so that you get an idea of what's forward, but it's not coming back with my eraser. And that will make a nice difference. You see how now that's starting to enter play in there of this overlapping shape. Something's moving within here. Like what's going on here. I don't have anything right in the center. I don't have anything going strictly often the edges, but it's almost, I have three here and three here. So it's kind of like I'm back my symmetrical balance, which we have a tendency to do. So let's break this up even more. So I'm gonna put something back here. And I think something refer back to our original sketches here that we did. Gesture one through something, enlarge writing here that kind of balance these out. But I like the shape here, here. What do I want to do here? I think I'll do something about, right? Maybe This my frontal one. Let's go through and I'll start drawing in here. Trying to get all those markings off. I have a tendency to overdraw, but that's again, went away. Other things that we do like this coming up ahead of this. So things are going on. This is forward, that goes back. And I could re-emphasize it with color to make these really bright colors. So it would even re-emphasize what I'm doing here. You will establish this one. Do I want to go forward with this or backwards? I think I want to go forward with it, so I'm getting a little bit closer. I'm putting this one in front. I'm putting this one in front of the rose. This comes up where the row is going back. Here. It sends it back a little bit more. Before it was up to far. I like that balance that's being created here. Get a little bit more in this one. Now, it's starting to work itself a little bit more. We've got a focal point. We have another one here. It's really moving nicely. Pretty happy with this. I'm gonna clean this up so you can see it a little bit more. Another thing I like to do is I can put my hand and using my hand or use an object to see what to play, do this. But if I do that, now if I get too many things going, it's going to be so much competition that you can't see it. So you have to really be aware of what you're leaving and spacing and the movement that's being created. But I like what's going on. I'm going to just finish it a little bit cleaner. I just began to put my stem on here. So that's creating another avenue working in here. So I'm going to put one here this way. Coming here. That's kind of having some fun too. In this one coming kind of weave in there. That's breaking up this space very well. The only place I feel uncomfortable with this right here. I'm going to put something right behind here. Maybe right behind here, just to break up this space at this larger than this one. So we have a nice variance. Like what's happening with this one. I got this still on the front. This is the front of this one. This one is in front of all of them. This doesn't work out as well. So I'm going to, I'm thinking of extending these petals out. More. Just playing with that. Let me go off. It breaks up that space in there. Now I feel comfortable with it. I've got my focal point, like right in through here, kinda go to either one of these. And it moves up here, pulls it down here, and moves across. So I've created a nice asymmetrical balance. Our next segment is an imbalance. It's really interesting. See you there. 15. Imbalance: This segment is on Imbalance. I'm starting out with this painting by Andrew Wyeth called Christina's World. She's a blind girl. You can see her in the field. It's pretty impressive. This big negative space area of the field and the houses in the background. This isn't imbalanced. This is definitely balanced. This is definitely an asymmetrical balance with the figure being the focal point. But I wanted it to be a comparison with the next piece by Kirby that has a similar look to it. This painting has imbalance. You have things going on in the foreground and then in the middle ground you have this house that's kind of tilted, that you really don't have much going on the left-hand side except these waves that go out to that direction. But it's definitely heavy on one side. As a viewer, we want to always see some kind of balance or something that we can hook up to. This one gives us a little more tension. Here are the paintings side-by-side, give you a comparative analysis. The one on the left, wives, even the colors very harmonious. It's monochromatic. We're on the right. It is dealing with complimentary colors that are very intense. So it's creating so much more action than the one on the left. You can really feel the difference and the intent of the artist. Now remember friends Mark's work, we were dealing with symmetry where he had the animals that were very well-placed. Here the balance is really off. The horses really cropped lower part of the composition. So it gives us that feeling of I'm balancing. Here's a penny with horses by Degas. Similar thing of the balance be really heavy on the right-hand side. So this is imbalanced. Here's one by McDonald's where you have the white horses, this stripe of kind of yellowish green color and the right-hand side. So it's really, really quite active. Things to think about. An imbalance is the intent. I'm going to give you a word called truism is the artists to have this really come through has to be really true to his art. He really has to know the differences of all the elements that he's working with and why he's not including some of them. And that's through the intent. The viewer, on the other hand, is searching for this balance, so it is creating tension. Now let's look at this piece by Kleiner that it's even titled imbalance. So as you look in here, you have the woman that's looking towards you, and then you have the young boy to the right looking out. What we had talked about before, where the figure looks, it really pulls it apart to give you that feeling of imbalance. And a penny that's imbalance doesn't necessarily mean that it's wrong or it's bad. It's the intent of the artist to pull it off, to have it come through. Now fewer working on this painting and you are trying to balance it. What would you do to balance it? Certainly with the figure on the right, you would have him turn his head probably towards her. That would make it more balanced. It really liked this painting. It really lends itself to a lot of imagination and what's going on. It really gives a suspenseful feeling to me. It's like I want to know more. It's another figurative painting. This is by direct. You have a young man to the right way in the corner. He's looking to his left and you see this white object going out in the corner. I mean, that's a really hard visual thing because it pulls you so hard edge to the left, creates a lot of tension. A lot of drama is going on in here. This fiery yellow and red That's being exploded through the negative space has a whole different intent to this one. The paintings that I'm showing you, your opinions I really enjoy and that's why I chose them. And I've found a few of these that actually had the title called imbalance. So I know definitely that's their intent. And with this one, I mean, it's so dynamic. It's triadic color scheme. Your red, yellow, blue, you have the darks and lights. A lot of different values going on. The choice of shape and form is round and sphere-like. And that negative space really employees into the positive space and that heavy weight on the side, you can just really feel that tension. Very dramatic. Here's another one by Miller called imbalance. You have this fiery image going right through the middle. Lot of action are so much going on. Your eyes are going everywhere. Excitement that I feel from this piece. Here's one by Hugo called imbalance color scheme. You just have yellow, white, and black negative space, definitely the black. You have soft images except to harsh images. One in the corner that goes straight in the corner, that cube-shaped going out to the other sides. When I'm telling you when things are just going directly out, it really pulls you out of the scene. If you're trying to get it symmetrical, you would avoid those areas. But if you're trying to get an imbalance, that certainly works. Here's another one titled imbalanced by melon. Lots of negative space, but the negative space is handled quite well. It's an interesting composition all the way through lot of direction, going right into that upper right-hand side. A lot of tension because of those diagonal lines that are used. Here's one by Rizzo. This really makes you feel imbalanced because the whole thing is tilted. And using a monochromatic color ration, it almost feels out of this world. Here's one by Yeager, and this becomes almost very surrealistic. You have that huge I, looking at you, I mean, it definitely pulls everything off in the balance. Interesting piece though. Here's one by fields. They almost look like figures that I'm not sure if they are not, they go into space and this heavy impasto, which is heavy pain that's applied easily, these pastel colors. It just really interacts with texture and color and things that are just flying all over this Canvas, which is just great. I just loved this piece and this one by Frank using yellow, yellow, such a difficult color to work with. But the yellow, red and blue triadic, the yellow empowering all that negative space truly makes it an imbalanced. But I think it's a really fresh looking painting and really enjoy it. The next segment is going to be really fun because we're gonna do an exercise, an imbalance. 16. Exercise #5 : Imbalance: This segment we're gonna be doing exercise five, which is imbalance. This class is really about exploring, so you can try different avenues to play with the idea of imbalance. Well, I started with the last project we worked on, which was asymmetrical balance. Instead of just trying one approach to it, I thought trying several approaches. I have the computer software ART rage. And I was able to pull this up and play with color and line on top of this to change it into imbalance. So you can really play with this and any media that you so choose to see what you can do in exploring within balance. Remember, it's intent, what do you try to say? This was to bunch fun for me. You don't know how many times I destroyed this fees, but that's the process of it. Sometimes it's trying to take everything away and just leave the essentials. It's there. So it's a whole new way of looking at it. Well, I thought, well, I'll just start with one color. Let's get something simplified. So I chose the color yellow, really played apart, but I felt, am I really getting into imbalance? So I thought, okay, let's try a different color to see if that changes at any. I tried to blue violet. Well, that's wasn't as interesting as the yellow because the yellow came forward. So push a lot of things back. I thought IT interplay a lot more interestingly. And I thought, well, let's see tick that blue and make it more translucent and put it in the background and see what happens there. Well, I kinda like that, but it's still, is still balanced. I'm shooting for imbalance. So let's go further with this. I went back to my yellow because I liked that and then I liked the background, but I thought I needed more so than I put this red violet over everything. I like it. It's kind of fun. You know, it almost looks like a print and it just has such translucency through it. I thought it was a lot of fun. I had fun doing this. So that's my first one. So I thought, well, let's do something that's more opaque. So I started working with something more of a pastel, so it was a little bit heavier and more linear on my piece. Obviously, I like this blue violet lately. So anyways, I played with this and destroyed half of it. So now I'm eliminating parts to it. I thought, okay, this is pretty interesting. And I brought this light blue-green pulling across it. So I'm adding lines and a little more dramatic, but it's still kind of working. So what could I do to really, really imbalance it? So I took a read, this orange red and went right through that corner and pulled it right off. And I felt now I haven't balanced, but I'd still like this piece as well because it's so dramatic and comparison to the other one. So have fun with this. You're exploring, that's what this class is about as a learning visual process. I will see you in the next class because this will be our project on balance. 17. Project Details: This section is on the project details to explain what we're gonna be doing in our project. The materials you need for this project. I put down MED pencil because it's a nice heavy pencil to work with or any type of pencil and drawing paper. But you can choose any medium you want to work with, especially if you want to work with color, which would be really challenging. So think about what you want to work with and the project description is as follows. You are creating an asymmetrical composition. Twos at least three objects to work from. Use the visual weight with a purpose, explore your options. You want to work out your composition formats through thumbnail sketches. Really see your objects. Observation is the key to drawing. So it'd be great to actually have the objects right there in front of you versus photographs. Photographs can be used is an additive. If you need to simplify your images, go obstruct. If you want to think about what you want to communicate with your balanced composition, what is your intent? Work through your art piece subjectively and objectively, and make the necessary corrections and eliminations to improve your artwork. Remember, it's a journey and have fun. I wanted to talk about demonstration. This is really not to follow along type of demonstration. It's not like a step-by-step process. What I'm teaching you is how to make an asymmetrical balance in my own work. And I'm just, this is just an example to help you in your own artwork. And I'm gonna show you how I make decisions and how I change things to make this asymmetrical balance. So it's kind of a fun thing to look at because this is the first time I've let anybody in my studio watch me paint. You are the first. It'll show you my studio and I just set up the camera behind me. And when I paint, I just lose my whole concept around me and I'm just so focused on painting, it becomes very, very subjective. I get excited about the colors and I think that's really fun. Then I have to go back and view it objectively and make necessary changes. So this will just give you an idea of process. I'm not going to be teaching you how to make a stretched or prepared canvas or how to paint or draw or mixed colors. I have other classes for that. This is primarily about balance. I hope you have fun through my journey of doing my painting. Let's move on to the next section and enjoy and learn things about how to do your project. I know you will explore your fascinating ideas when you work on yours. I can't wait. 18. Project: This segment is our project and it's part one. I have here several followers that I'm working with. Some of them I have somebody I have photographs of like daisies. I have Black Eyed Susan and cone flowers. I'll be working with acrylic paints on Canvas. This is the best part of working as having this big blank canvas. To begin with. I'm starting out with what do I want to say in my painting? And it's basically, it's my nature of the flowers. I really want to make sure that the brilliance and colors come through. I'm going to consider my background to be a little bit a subtler and colors. So that's my main objective. I am going to put my flowers in her base I've chosen this one is kind of simplistic, has a little bit of a curve to it. I'm going to start my composition. Since it says asymmetrical, I'm going to be very careful where I'm gonna start. Certainly, no, I don't want it in the middle. It's not gonna be radial. I don't want them in the edges. I need a base weight. I'm going to pull it to the side, somewhere in here. Since it's glass, it's gonna be see-through. Even though. And over here, I wanted to put the weight down in here, so the flowers certainly be up here, but I don't like where it's placed. I know I'm gonna have a struggle towards the end, so I'm gonna move it a little bit over. That's what's nice about writing here. I like that much better. So I'm going to darken it in so I can see it. With so important about knowing all your elements. I already have my color scheme already set up with a gonna be triadic. I know that my, my textural quality, it will be wide strokes. I have everything that I want artistically and elements of what's going to work in here. But the whole time I'm painting this, I have to think about balance. Here's my first object once I play something else. So parent is going to change immediately. I'm going to start out, I'm going to put some blues back here. Because I'm running things to receive. Going to put a bit of bloom blue back here. I'm just playing around here just to get some depth, little more weight. I'm taking me in my hand or if you don't like something about right here, this size to balance. And I think they farmer, chooses cone flower and make it a little bit to the side. Can be kind of a Live Lock, just doing a darker river. Now, bring some code here. That will be my start. Gonna can always make it smaller. Right now, I'm working on a linear balance because when I start adding color, it's going to change the weight tremendously. So it's always in progress against I said I think I'm in two days. I'm writing here. Let me overlap rule, but the daisies are just a little bit thinner, a little bit smaller. A little bit of overlapping. Balance works really nice in threes. Always counterbalances all the time. If you're wanting to do symmetrical, It's the 2s that you're going back and forth now. Right now I have three. I'm just going to put circles just to visualize. Or I could put other flowers. There's something right? If we're giving something back here, something over here, something sideways, there may be certain thinking about placing some type of weight, the table and how things are gonna be placed. I will continue with the project and the next segment. 19. Project (Continued): And continue with my project, I call it part two, but I'm going to finish up in this segment. Here's the image of my painting of what we ended up with last time. And I had this circles of where it's going to place the flowers. In the meantime, I have placed those flowers in there. I went ahead and darkened the cone flower with a little bit of red violet. I did a little bit on the daisy. I added two of these violet flowers and a small red one. And I put another cone flower on the right-hand side and other Daisy on the left. And I've made this a little bit smaller. I had to make this smaller proportion to this. So you have to think about the size in which you're working with them, doing something realist? Well, semi realistic. Now I have these two flowers, I'm pleased with that, but very circular. It's almost very symmetrically balanced and I don't want that. I think the problem I'm having is this one is so straight on. And I'm gonna have to change this enough and bring things out here to have it balanced a little bit more. Let's think of something that will be over here as well. Now we can't go to my job here because we got to think about these all kind of going. This area here. More of these, we're putting one of these maybe over here. Here. You always have to stand back because when I beam subjected with it, I'm too personal. I mean, the moment I'm real emotional, how I'm painting, I'm real up-close. I need to be objective. I needed stand back, look at it. Sometimes it can be so hard to look at it. It's best just to wait the next day. You'll have a whole new viewpoint at it. So looking at it, I critique it. I self could she hit? I try to detach myself from it and not be so emotional and be very open-minded. This is how you improve. This is how you enhance your works. And some green in the background so I can see the flowers more and the green is also a cool color that recedes. As I look at this, I've expanded morning. Very happy with it. I'm going to need to know what I'm on it down here, but I'm definitely going to have another one of these flowers. I think that's going to work out very well, fills up this space and now I'm getting some really fun things that are going on. And it's like progress. I'm going to get a lot darker back here. So these become even brighter than they are. Placed it here, I'll certainly change colors, but a lot of empty space that I want to start filling out so that I could really start to balance it. But there's a lot of empty space. This can have a lot of visual weight to it. So I've tried to kind of a neutral color, kind of a light blue that I'm gonna place right in here. Kind of cover of some of these areas in this BLUF definitely has overwhelmed it, but it's starting to push back. There'll be a lot more dark sit here really to intensify these colors, but just kind of red and blue almost. So I'm gonna put in some blank eyed Susan's here, here, maybe down in here to balance that out. Black Eyed Susan said, OK or tone to them, That's kind of break there, but I'm going to turn them down here. And I think that's going to make it more interesting, reached this point and this little more definition if things are not refine just yet. But I've got a problem. This flower to that flower, it just feels like it's reading straight across and it's not giving me that nice asymmetrical more about intensity. Something's got to change. If I take this one out, There's a lot of weight on this side. So a gotta figure out how to make it more interesting. I've talked about adding things. Now I'm talking about eliminating things here. On the left-hand side, I'm eliminating that flower. It's just way out there too far. There wouldn't fit into the base. A little bit more green and back in there, I've put in my Black Eyed Susan, so the yellow helps. I'm getting a little more detailed with the flowers dark on the very right side of the bottom of the base, really giving more weight here it gives you an idea of a closeup. I'm adding more colors to the flowers and things going back, smaller little blue flowers back there. Still not clear enough. Here. I'm adding more stillborn depth. Something's missing in there and I can't figure it out. I liked the light green back there and I do change that to this blue. Just feels like a little more open. It's outside feel that blue gave it a little more life to it. I enjoyed that, but there's still something wrong. I'm looking at it and I'm looking, my focal point is at daisy that right on Daisy that's been giving me trouble. I'm thinking it's gotta be the daisy. And then it kinda goes to the left of the cone flower and the other one straight out. Don't like what's going on in my composition. What can I do to change it? This one I hung on the wall in my kitchen. I had the most distance from it, my studio. I can't go far enough back. I mean, sorry, every time I'm walking by and I'm thinking something wrong, something wrong, something wrong. Well, it was too next day I thought there it is. It's this there are too much alike there, right side-by-side, which creates a lot of weight over there. That's why it's pulling it so far down the one on the right. What I've done to I've lightened it up. I made the other flowers smaller and pushing it back, that it pulls itself back to the vase. Better composition. This is the end of my painting. And what was so exciting, I put it in his show. It's called colorful differences. And at one first-place, so I thought, well, wow, that's pretty exciting. I thought this was kind of fun to show you a painting. My first group that every odd to see me paint and kind of see the process of how you go through it. It's fun to me. I get excited just to get myself through it. And so don't forget to upload your artwork into the project gallery. I would really enjoy viewing your art. I get so excited about that. That's just really special to me. The next part is my final thoughts. So thank you so much for watching my demonstration. 20. Final Thoughts: Well, I hope you enjoyed the class as much as I enjoyed teaching it because I even learned a lot because I love to do researching and look at artists and I'm always amazed of new things that I learned all the time. So the whole process of art is such a journey and it's so exciting and I enjoy it and I hope I can enhance that, that vitality of fun and enjoy billion art in your world. I'll be teaching more classes and I hope you enjoy seeing you again. And don't forget to put your artwork in the project gallery. Loved to look at your work and if you ever want a critique or something, just asked me, I'm more than happy to do that. I want you to learn and have fun with this because that's what art is about. It's a process, It's a fun process. So bye bye and see you next time.