Sharing knowledge and my original work

composition

Texture And Color Add Balance With Depth

Creating texture with color and  with each pencil stroke or brush stroke is another way our picture area comes alive. adding color set a tone enhancing the illusion of the composition.

Every time I pick up a brush or pencil I have to make a decision to fill the picture area by setting the key. The picture area is composed of smaller picture areas. Each shape is a smaller picture area that can be filled to create the larger picture area.

Take these sections of a painting I have done, look how these sections fill the main picture area.

Each section of the picture supports the key to this art.

I love to break down the color in the fur of an animal of feathers of a bird by carrying by making the colors the texture. Building an added depth to the perspective of my subjects. Texture  in color can be become the camouflage leaving you with a piece that draws you into the center of interest with ease.

Useing color and textures in acrylic

Tree Frogs use color and textures to hide.

 

 

Artist using acrylics to fill the picture area with color and texture.

Louisiana Tree Frog

As you can see above there is more than one way to create using color and texture. The patterns in color is just one way I show areas of balance and creating the keys in the art work. Pencil is fun here you can see how texture in shades of the gray scale create balance that is throughout the picture area.

Monkeys in pencil

Using texture to create an feeling of depth and details.

 

So much of my art is about the movement between the subject and the way I draw you in to see that they are a part of this world. If your eye lingers on the subject you will see that section is filled by textures that create the fur just by my pencil stroke.

 

 

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I Am Inspired By

I am inspired by animals, insects, plants, trees and water. Well I guess just being alive is an inspiration. I just don’t know how not to be inspired, I have always lived my life this way.

My inspiration is all around me. I love color, the way light and shadow can changes the same space at different times of the day. Taking a colorful object drawing it in pencil to bring out the contrast of the gray scale from light to dark.

This example of just one of an object that inspired me to take immediate action. The other day my neighbor stops me during my walk to show me something interesting. It was a two foot hornets’ nest. What a great opportunity. I was so glad I had my phone with me. I took a lot of pictures. As I took the pictures I considered the different eye levels so I could capture every vantage point.

Being aware of how the light played on the nest I wanted pictures to reference for the art I would create.  I was so inspired I knew I would get home a start drawing right away.

As I walk home with my dog Grace. I was already putting together some compositions in my head on the best way I could represent this amazing subject. I knew that it would take me some time to execute a painting, so I decided to do some drawing when I got home.

I am so inspired by the shape and the size of the massive nest. I decided to draw it before I paint it.

Sketch it out

I am inspired!

 

Light and Shadows defined

Starting to define light and shadow.

 

Are you inpired!

Filling in the form with shape of texture.

 

Inspired yet?

Filling in the form with pattern in each section defines the object.

 

Inspired buy light and shadow

Continue with defining light, shadow and pattern.

 

Inspired to it paint.

The balance between light and shadow brings the details to life.

 

Inspired to and color

The next step is to clean this up mat it, frame it and add it to the Gallery

 

As you can see from my quick drawing the picture area is full of interest without adding the colors of the nest. I was inspired by shape, texture, light and shadow. This drawing has inspired me to do another from a different eye level.

 

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Balance Composition Tips

Composition is all about balance. In order to create a great piece of art there must be a balance between the positive and negative to be appealing to the eye. You want the main focal point or center of interest to draw you into the work and leaving you with any emotional response no matter what chaos is happening in the art work.

Artist take their time placing each element making sure they have a balance between the positive and negative space. Artist take the placement of the center of interest just as important as the subject matter.

Tip 1 Placing the main element where it has the greatest effect is going to draw your eye to the center of interest. Once you have figured the picture area is the perimeter (size and shape) you will take great care in placing the elements.

Example:

Example A

Example A

composition 1composition 5

As you can see the center of interest is a word. Changing the size and position of the word we can still keeping the balance inside the perimeter.composition 4

When your work is in balance you will feel it and so will your viewers. Whether you are using font or objects you need a good composition. Realizing the negative space inside the picture area (perimeter) is one way we draw the viewer’s attention to the main focus (center of interest).   Tip2:

You don’t always need a solid object to be the main focal point. The examples above are obvious I wanted you to see the negative space inside the picture area (perimeter). Here is an example of color and how it can draw your eye to the focal point.

color and composition

We try very hard as artist to get our vision across to our viewers, it is the composition that will take it to the next level. Placing the elements to support the center of interest is key to watching a piece come to life. Try different focal points and find the one that represents your vision. The placement inside the picture area (perimeter) of all the elements are there to support the center of interest and can be done from many points of view. Work with the size and the shapes and create a well balance piece of art in the foundation the artist strives for. It can make or break the vision you are trying to convey. The possibilities are endless, so have some fun. I truly believe that composition is the most important part of the piece. It is the beginning and the end of the pieces you will be remember for. Striving for the viewer to be left with a sense of balance as they view your work.

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Teaching And Art

As I get ready to embark on another year of creativity. I can’t wait to start a new project. Teaching and art is what I  do. I enjoy teaching I just don’t do enough of it.

Every day is a blessing and I am truly grateful. I found that putting out content on a teaching blog is not as fulfilling or easy as I thought it would be. I need the inter action teacher to student.

So I have decided that the best thing I can do is to go back to that one on one experience that I find in the classroom. I do this through our public library.

I do private teaching as well. The things I love to do above anything else is painting, drawing and sculpture. They say if you do the thing you love you will never feel like you’re working. Okay that for me is creating beautiful works of art.

I have to say that I still believe I have given you may readers a great foundation. Composition is the key to any great work of art. I believe if you have a great foundation you can build anything.

Over the next few weeks I will be adding more work to my gallery and incorporating a shopping cart. It’s time for me to take what I’ve learned to push my site to a higher level. This will take me some time do to the fact that I am going to do what I really love and one finger typing in my option sucks.

Finding ways to keep motivated are not hard when you’re doing what you love. For me there’re subjects all around me. I am inspired by life, shadows that form shapes, light that defines, space that creates perspective and colors that dance across the world bring it alive.

I have always been driven to express myself though teaching and art. Showing off my gift as an artist is opening up to you. I want you to see as a viewer how I see the subjects I paint and draw to capture a moment that has trigger an emotional response in me. Sharing this is bringing you into that space. Teaching is showing you how I build that space.

Emotion is the root of all humans it can be found in this space. It is an invitation for most artist to start a conversation or maybe provoke feelings of joy, sadness or excitement. Teaching is showing the student how to bring themselves into their work.

Artist do what works best for them and go from there.

bwxx

 

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The Last Step To A Great Composition

Ready to complete this composition. We have constructed a great foundation for our vision by practicing different picture areas, line and depth. Now put some personality into the illusion. The final thing to conceder is value.

Value is the overall mood of the illusion. It is set by the darkness and lightness of the artist vision. Some artist consider this the most important part of creating a great composition. We call overall value or the key.

Low key is pictures that are overall dark in value and leave you with a feeling of sadness uneasiness and despair.

High key is picture that are overall light in value and leave you with a feeling of happiness, safety and lively.

The value of your picture should be consistent with in the picture area. Your composition is strongest with the overall key the same. We are creating a believable illusion, trying to direct the viewer’s eye to the focal point. Taking time to think about the value of the finished work. We do this by placing the gray and dark tones in areas that will support the key.

A rainy day can be drawn or painted to support a high key by making the sky bright with limited dark clouds and maybe a rainbow that formed from the sunlight direction. This leaves most of us the feeling that we are coming out of the stormy weather. A low key rainy day can be drawn or painted with grayer and darker clouds with no bright area leaving us with the feeling of despair.

A bull fight can set in a high key showing the excitement of the fight with a wide range of contrasting values from the lightest to the darkest. A low key drawing or painting of the same fight can be done with a somber tone by controlling the contrast between tones.

So as we explore the value or key of the picture area there are a few things to think of. Using different tones of equal value are too closely related and will leave your picture with no center of interests. Using in-between values of gray or color we are creating contrast between tones. This will set your center of interest away from the background and even thought your other elements may stand out they are less important.

Here are some things to consider when planning the picture area. The basic value patterns simply come down to this light against dark, dark against light, dark and *halftone against light and light against dark halftone.

Sometimes there is a clear choice with patterns that are clear and sharp. The challenge comes in when you want to create an overall value that is well balanced and leaves your viewer with a satisfied feeling.

You need to solve the pattern between the relationship between the elements and the key. You want all to support the center of interest. Trying out different value sketches to see what makes the most sense. This clears up the confusion and supports a believable illusion.

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Elements of Composition In Action

The artist that tackle action as the focal point must take a careful and sensitive placement of all the elements in the picture area. Composition is drawing a clear, sharp and simple foreground and background with the subjects in the middle ground.

Come up with a composition that is subtle is the goal. In this example there are lovers in the park sitting at a picnic table. Keeping the four elements of composition in mind as you build your vision on paper.

The over-all picture areas composition is filled with the shape of the main characters to include the two people and the picnic table. How do you utilize the picture area with a form containing the main subjects? Can you have the two people stand out in the form? The answer is yes but the placement is critical because the line they form will be subtle.

The two-dimensional pattern you are drawing is important. The challenge is to create depth inside the form. You can create a strong feeling of depth. Making the figures and the action stand out by setting them at the far end of the picnic table will lead your eye in this composition. The perspective comes alive with a dark table, carry your eyes back in the space to the figures creating the action.

Now think about how the invisible line in this composition and how it effects the picture the area. The contrast between the invisible circular lines and the obvious straight lines of the table along with the landscape will draw your attention to the center of interest. Pay attention to the relationship of the figures. They create the top of the form.

Their heads are facing each other and they are holding hands creating the circular line. This invisible circular line stands out against the straight lines. The vertical lines converge to the vanishing point just beyond the figures heads. The horizon runs three quarters of the picture area just about eye level of the two figures. All hard lines lead to the center of interest.

The foundation is in place. The value of the key is what sets the tone or mood of this drawing. The contrast between dark and light, between the background and the figures heads will draw your eye to their faces. All the other dark and light areas are not in strong contrast blending in value with the foreground and background. The composition is strong because all elements come together to sends you to the center of interest. The subtle choices made by the artist to use a middle key directly affect where your eye travels in the picture area.

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My Garden Is A Painting With Flowers

Here we are in the middle of June and I must confess the only painting I am doing is in my garden. I love to garden and in the spring before it gets to hot. We get muggy humid hot nasty weather, I hate it.

So I have started this painting seventeen years ago when we moved into this home. We didn’t even have grass and the builder planted four bushes out in the front of the house. I have devoted a lot of time learning about what works and what does not work in a Pennsylvania garden.

The painting is a feast for your eyes. I have put carful thought in perennials, trees and ground covers. My pond and fountain are a pleaser to listen to while I work. Nature keeps me company as I paint the yard with colors that change four times a year. The welcome and unwelcome pest that visit do some damage even if it is only to drop unwanted seeds or eggs.

In the past week I have had two visitors that were not so welcome, a larger hawk has decided that my pond is his buffet. He has eaten most of the bull frogs and a group of bunnies are cute, just as long as they don’t eat my flowers. I have taken to using ground hot peppers to try to keep them at bay.

I love that you can plan out a garden, break ground with your first tree and as the trees grow so does your vision. There is nothing like get down and dirty by doing the work yourself. I see every season as I am planning and planting.

My motivation grows with every season. I love that my efforts in the spring and fall create a beautiful back drop for my life. I have created a wonderful place to live.

Now that the weather is getting hotter it will be nice to enjoy the garden in the mornings with my cup of tea. When it is the hottest part of the day I will come in and work like today and than speed the evenings cools down with a nice beverage back out in my gardens.

Walking around my gardens make me feel as though I am walking through one of my paintings. A painting that changes it key depending on the sky. The sun brings out a high key atmosphere, the rain can go from a middle key to a low key.

At night we can set any key we want because we control the lighting which is always fun. I love my gardens I have created a growing composition.

Here are some parts of my garden…

IMG-20110622-02138

 

IMG-20110622-02136

 

IMG-20120503-01875 (2)

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The Four Keys Of Composition

The four keys of composition set the overall value of the picture area is based on a scale from the darkest to the lightest. The picture areas is where we set the mood.

When you first see a finished piece of art what draws you to it. Can you pinpoint four elements that trigger an emotional response. Our brains drawing all these elements at once tell our subconscious that we either love it or hate it.

One of the reasons great art stands the test of time is because, the artists creating it has tapped into what the viewers wanted and liked at the time. This leaves us some of the best glimpses into that era of history. We study these four keys and apply them developing our own style.

The Four Keys

  • A high key value is bright and the overall tones are light. The artist may paint with light bright pastels colors to elevate your mood when you view it.
  • The middle key value has no extremes of light or dark and shows a balance of the two building a feeling of being content as you view it.
  • The full value has the whole range from white to black and will leave you with a feeling of the dramatic.
  • The Low key is the very dark, all tones are in the darkest range from black to white. Leaves you with a feeling of despair or sadness.

Here is an exercise you can try to help understand the keys a little better.

Make a Gray Scale using you pencils from hard to soft. On a strip of paper draw a long rectangle vertically, long and skinny. Now at the top of the rectangle leave an inch white the next inch use your 6H pencil, than in the next inch use your 5H, 4H, 3H, 2H ,H, HB, B, 2B and so on until you go completely dark with your 6B pencils.

This is scale that you will want to set or recognize value. It will show you the overall value of the picture area. The shades between white and 6B is divided into four sections the lightest is the high key and middle key is in the middle of the scale. The full is moving back and forth between the white to black or 6B and that leaves the last key, the range is in the darkest or lower range of your scale.

When you are setting the  fourth key or mood (overall tone) of the picture area remember to stay in the same key from start to finish.

When using paint it is the same you are just using color. You can make, print from your computer or purchase a color wheel. This will show you the colors in the key you want to stick to when painting. You can also get them at a paint stores, sometimes for free.

As you mind observes the gray scale and the color wheel it will train itself to see everything in these 4 keys of composition and file it until it becomes second nature.

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Creating A Three-Dimensional Drawing

An artists’ drawing is subject to the opinion of the viewer. The artist who is creating a realistic illusion will want the perspective to be correct and the arrangement of the subjects or objects to be believable.

Start by establishing your eye level and the vanishing point. Now work out the size, placement and proportion of the largest forms and then start carefully detailing the drawing. The largest forms must be established in their space before you can concern yourself with the smaller forms or the details.

The largest form or shape will have many smaller forms or shapes that make up the details. Each form must be in an accurate perspective. Remember all parallel lines meet at the vanishing points on the horizon if you were to draw them in.

Where your subjects are fruit or people the placement of each form will draw your eye to the area you direct in the illusion. Once your largest form is established you will want to add the rest of the forms. Keep in mind that each object and their detail will supported the idea. Every drawing is telling or leading you into a story.

Things to remember when drawing form.

  • Leave enough space between forms when one is in front of the other. If you draw both objects through you will see if the first object leaves enough room for the second and so on.
  • Learn to make ellipses by drawing them in a rectangle. They do not have pinched or flatten edges.
  • Draw a form through constructing the mass before you start the shading or detailing.
  • An interesting drawing with two or more forms has a great composition, it will lead your eye through the illusion into a three-dimensional space.
  • To create a three-dimensional form show the light, a middle tone and a dark space.
  • After establishing the largest shape make sure the horizon lines recede in depth. So the side closer is larger than the one further away.
  • Make sure that your view of objects on the same plane have the same eye level or view point.
  • When drawing an object pick the view that will make it most recognizable.

We have explored form or shape so we can create a three-dimensional drawing and a convincing illusion. You are telling a story of the object or subjects and how they relate in the space they occupy. Having an accurate perspective is essential.

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How Do You Create the Center Of Interest

Up until now you have studied the fundamentals, so let’s cerate the center of interest. Obviously the strongest and most attention getting element is going to be the center of interest.

Keeping that in mind what is the value of the elements you are drawing compared to the background and eye level you see in your vision. Some maybe darker or lighter so you will want to arrange them using the tool learned in the exercise you have been doing up until this point.

If you draw them all the same value you will not have a center of interest. We create the center of interest by showing the contrast of the elements keeping in mind the whole picture area. The perspective of each object or subjects and how it relates to support the element that you have chosen to be the center of interest.

We control the interest by varying the contrast between the elements. The overall picture area comes to life with light and shadows caused by the direction and intensity of the light source and your eye level. You are setting the stage creating an illusion by appointing value to all the elements.

Here is an exercise that you may find helpful:

Take four object a bottle some grapes and a glass, now arrange them on a table.

Draw just the shapes you see with no shading.

Now put in the shadows and when you are finished take your HB pencil and cover the whole picture area, leaving the objects recognizable.  This will show you that your picture area has no center of interest.

Now draw it three more times and each time pick one object to be the center of interest. Each time you draw these elements keep in mind the value pattern in your picture area and the illusion you are creating.

By contrasting the light in the foreground, middle and the background you can create a piece that supports the whole picture area. You are in control of the illusion and setting the value of the composition.

Remember you are in control and you set the pattern to support the object or subject. You control the mood and the direction that the viewer’s eye travels through the illusion you create. When you want an action to be the center of interest you put that in the foreground and depending on the action the pattern of darks and lights you use will support it.

Drawing a boxer hitting a punching bag. First identify the elements. The boxer, the fist, the bag and the light and dark value in the back ground.  I can draw different ways to get the action across one would be to have the bag with a fist wrapped in white tape in it in the foreground against a dark bag. The background will gradually get darker putting the bowers face in the middle ground making the punch or action the center of interest. The pattern can be brought to life buy showing the contrasting patterns in the area of the bag where the fist connects and all other patterns of light and shadow directed to the point of impact.

When you can tell a story with using light and dark patterns around action, object or subject you are creating the center of interest. It is the contrast in the patterns that draw the eye to the center of interest.

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Understanding Composition On Many Levels

As an artist you are creating a convincing illusion for the viewer we do this with composition. We build up from the foundation to our finished picture area. We use different levels of all the properties of composition.

Overlapping is one of these levels you need to think about inside your picture area. Organizing the elements in your picture. Most of us do pictures that have more than one object or subject in them. They are different sizes and shapes.

When we overlap it lets us organize the different size and shapes to create interest and a unified arrangement. Deciding on what to overlap is important because it will decides what is more prominent in the frame.

How do we decide how much of the vision we have in mind is represented in the picture. Cropping is where we place the border around our vision. We can use the border to frame different views of the same elements. This can overlap, cut out or show parts of objects or subjects creating interest and direction for the viewer.

Common sense must be applied in your picture area, just as in real life. We can see and feel a sense of balance and proportion all around us. So in order for us to create a convincing picture. There are some common sense approaches we use in making this happen.

It makes no sense:

To have elements all crowded on one side or the other. It give us a sense of falling out of the picture area.

To have everything at the top making it top heavy leaving a lot of blank space.

To have everything at the bottom making it bottom heavy leaving most of the area unused.

To have everything competing to be the center of attention. With no center of attention the viewer doesn’t have a direction causing them to lose interest not having a place for the eye to rest.

To have shapes that overlap and appear to merge when you can have a clear understanding of space and shape just buy changing the angle your view sees.

To over crowd the picture area with objects that are too large for it.

Get the most out of the picture area. You’re creating an illusion of balance while still telling a story. So you are making a conscious choice where you’re leading the viewer’s eye.

Things to remember about common sense rules are:

  • Don’t divide the picture in have by crowding everything to one side or the other. Use the whole picture area.
  • Don’t line things up its boring. Create more interest by overlapping or varying the positions of the elements inside the picture area.
  • Don’t crowd the bottom. Use the whole picture area.
  • Don’t center everything. Vary the placement of the objects in the picture frame.
  • Don’t leave a hole. Use the space in the picture area. Leaving a hole becomes the center of interest.
  • Don’t just let objects touch they may appear to be resting on each other. Overlapping the objects create a sense of order and balance.

Understanding common sense in the picture area is just a part of the foundations that will become second nature the more you practice it when creating the center of interest.

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Composition Is Building Your Vision On Paper

Composition is creating a well thought out vision on paper or on canvas. It starts with the artist seeing something that inspires them to record it so others can enjoy it too . Artist  combine form and space to create a whole picture.

Artist arrange the elements to create a perfect harmonious picture. We are creating a visual arrangement. Our main purpose is to create an illusion by the placement, size and value of each object. Paying attention to how it relates to the space and what importance we give each.

A well composed picture will give the viewer a sense of order or beauty. The viewer may not realize how or why, they know that are satisfied with the results.

As artist we plan out every aspect of the composition. We are telling a story. What is the basic idea? What is the mood we are trying to communicate? We draw the subjects or objects that support and clarify our idea and throw out things that may confuse or distract from it.

You may start your picture with the main subject larger and bolder than the other objects. Placing it in a position of importance. You may even decide to draw it bolder, larger or clearer than it is in real life. Drawing less important objects lighter, smaller or fading away in to the back ground. Just by adjusting the position or size of the objects he can have the viewer linger and find the most meaningful part of the picture.

The artist is creating a focal point or center of interest by directly or indirectly by leading the viewer’s eye to where he wants it to go. He will also use light and shadow to draw your eye to the point of interest.

The artist takes into account where to use a horizontal or vertical picture. He may just want to dramatize the objects or subjects in their natural form. For instance drawing giraffes in a vertical picture will emphasize the height of the subjects.

These are the basic principles in developing a well composed picture. Practicing these principles will help you portray a clear, sharper expression of your idea.

Composition is taking your idea to the highest level by exploring and focusing on what is the most important element of the story you’re trying to tell in a picture. Taking the less important elements and arranging them to support the focal point.

A director creates a movie around a person, place, or thing.  You are the director of the picture you’re creating on a piece of paper or canvas.

 

 

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Position Is What Matters

Everything looks different depending on the position of the objects in your drawing and your eye level. So when you get ready to draw you must decide on the viewpoint you want to project in your drawing.

Every form you draw will change its appearance as you change your eye level or viewpoints. Our eye-level is seeing the base of the forms on the same level. A hilltop view is when you can see the front surface that the forms are resting on and the space between them. This view is the same as if you were standing on a hilltop looking down. A bird’s eye view is when you can see the surface the forms are resting on and the tops of the forms. Always remember as your view changes so does the appearance of the form.

As you change your view point you are seeing the difference between the form and how it changes its appearance in its space. This is the basic principles of perspective.

The further an object or part of an object is from your eye the smaller it appears. There are no exceptions to this rule. The height, weight and thickness of each form decreases in proportion and so does the space between.

They all seem to decrease in an obvious direction a definite level or height. This is known as the horizon. A natural horizon is where the sky and the ground meet but it is not the true horizon. Your true horizon is your own eye level. It can change depending on your height. It is always what is directly out in front of your eyes without moving your head up or down.

Looking down a street, a rug or a hallway notice the parallel lines of the forms gets smaller and smaller the further away they are from you and  they seem to connect. If you draw a straight line on either side of the object and converge these lines the will meet in the middle this is called the * vanishing point.

These lines are easier to see in a street, a pool or a freshly plowed field. You have to train your brain to see the converging line no matter the size of the form. Start by imaging invisible lines off the edges of all objects around you.

Your drawing may only have one vanishing point which will guide you to keep the diminishing objects in correct perspective. This one vanishing point located anywhere on your drawing depending on your eye level. Objects close to you will all ways seem larger and the ones further away will seem smaller even if they are the same actual size form.

This exercise is to help train your brain to observe how the objects it relates to the space it occupies.

Take three or four of the same object and the same size, place them down a table or a hallway. Now draw them, but first find the vanishing point buy drawing the horizon line lightly on your paper. Now draw the form of the object closest to you. Draw a straight light lines off the edge of the object to the horizon will give you its perspective. Where these lines meet is your vanishing point. Every one of the objects in this drawing will get smaller the closer it is drawn to the vanishing point. If the object is in front of your vanishing point you can draw a light line off the form to the horizon. This will show you the perspective of the same object and how it relates to the space and surface area.

Then you can have two point perspective, it is when you have more than one vanishing points on one horizon line. There are two sets of parallel which appear to converge to its own vanishing point. This will show off angles when we are drawing a view of a corner. The vanishing points may or may not be on your paper. Drawing buildings, boxes and interiors on an angle will have parallel lines converging to the left and right vanishing points.

*Vanishing point 1.) A point of disappearance, cessation, or extinction: His patience had reached the vanishing point. 2.) In the study of perspective in art) that point toward which receding parallel lines appear to converge.

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Keep It In Perspective

It is important that your drawings are in perspective. Are you convincing to the viewer? Do this by controlling the *proportions of the objects your drawing. We know that object closer to use are larger than the ones that are further away from use.

When you are building a drawing remember to have your forms in *proportion before you set in the details. Sometimes things just may not seem right, trust your instinct and check all the proportions most of the time that’s the problem. Every object should relate to the space it occupies and to each other

You would never draw a horses legs longer than they actually were or draw an apple larger than a pineapple unless your view point supports it. If I were an ant looking up at a horse the legs would appear to be very long and if the apple is on the table and the pineapple across the room on the counter it would appear to be larger.

Okay so this is what you want to do, first draw the largest mass (shape or form) than the next largest and so on until you can see they are all in proportion to each other. Than the details will start falling in place easily.

*Proportion is a balance of each object in its space and how it relates to all the objects it shares in the perimeter of the drawing. The more you draw the easier it will be for your brain to see the correct proportions. You can draw simple objects set up as a still life or go outside and draw a tree line, barn or pile of rocks. It really does help to draw anything, because every drawing you do will improve your observation of real life.

Drawing in depth is creating a three-dimensional illusion it is only believable if the proportion are correctly represented.

 

*Proportion 1.) Comparative relation between things or magnitudes as to size, quantity, number, etc.; ratio. 2.) Proper relation between things or parts: to have tastes way out of proportion to one’s financial means. 3.) Relative size or extent. 4.) Proportions, dimensions or size: a rock of gigantic proportions.    5.) A portion or part in its relation to the whole: A large proportion of the debt remains.

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What Artist Focus Their Attention AS They Draw

You’re an artist and you have the ability to look past what the average person sees. The world opens up to as you open your eyes every morning, as light blankets the room you imagination comes alive. You see pictures in the shadows reflections on glass and mirrors and when you close your eyes your mind takes over.

You have the ability to focus on what is important and lock it into your memory. Observation is an artist most valuable tool. We focus our attention on Shapes and how they are formed. Light and how it cast itself on and object bringing out the colors guiding us to the shadows that form a visual memories that we can access at will. We see emotion, character, joy and sorrow.

Observation is the ability to mentally record emotions big, small, extraordinary and common place. You have many ways your mind catches details that are missed by an untrained mind.

It takes practice and discipline for years to develop into a style that is recognizable. Improving your observation skills start when you decide to train you eye to record and your brain to store the emotional story you want to create.

As your brain becomes more aware you will be able to select the right subject to draw or paint. Composition will become second nature and the application of materials will follow without a thought.

Noting replaces drawing or painting from life and nature. How to develop your skills in this area. Start by doing sketches taking notes on how the light effects the subject you are sketching. Take notes on the character of the people around you and notice the emotions they use by tapping into your empathy (*empathy- the imaginative ascribing to an object. As a natural object or work of art, feelings or attitudes present in oneself: By means of empathy, a great painting becomes a mirror of the self.).  Looking out your window, take mental notes. Watch the seasons change, the time of day and weather effects the light, color and emotions you are feeling during your observation.

By spending an hour every day or every other you will develop your mind’s eye. Discipline yourself to practice drawing and training your hands to tell a story in a drawing. Fill your mind with important details that you find will portray what you want the viewer to see.

Now that we live in the age of technology it is easier to record your subject matter with a digital camera. This is a great asset to record your visional surroundings, vacations and people that you can use later to trigger your memories and emotions you had when taking the picture.

 

* resources  http://dictionary.com/   Famous Artist Course

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I Know Your Paper Is Flat

Artist have a great challenge ahead they are drawing on paper. Drawing a form which is three-dimensional on a two-dimensional or flat surface and you are creating an illusion of a mass or solid form on paper.

Most start out drawing their objects or subjects to flat. When they have more than one object they have a tendency to run one object into the next. Leaving their picture with no clear indication of where the spaces are between them.

When you see an object you must see it as if it has a clear box around it. Than you will see how it relates to the space on your paper. This is really important when you have more than one objects or subjects in your picture.

With that in mind you are creating an illusion of reality. Which object is in front, to the side, are they staggered or on top of each other. Does your picture allow the space for each object in every direction?

Take the four basic forms and arrange them on a table with one light source. Now take an empty picture frame and hold it up in front of the way you want to draw it. Look carefully at each form, take mental notes on where it is and how it affects the objects around it.

Three-dimensional form exist in space. So when you do this exercise move the frame from side to side, closer and further way and you can see that even though some times the form is outside the frame inside the frame you still have the illusion that it is there. This exercise is to help train your brain to see form in space so you can create the feeling of space.

Stand in front of a window look out the window as if it was a piece of paper. You can see how each thing you see has its own space. Now look at how they relates to each other. If the Glass was your picture you could look into the drawing not just at it. You are creating the sense of depth and space.

Remember that space stretches in all direction and every form must exist in it. Here are some terms you may or may not know.

Foreground – 1.)  The ground or parts situated, or represented as situated, in the front; the portion of a scene nearest to the viewer (opposed to background ). 2.)  A prominent or important position; forefront.

Background Fine Arts. a.) the part of a painted or carved surface against which represented objects and forms are perceived or depicted: a portrait against a purple background. b.) the part of an image represented as being at maximum distance from the frontal plane.

Perspective1.) A technique of depicting volumes and spatial relationships on a flat surface. Compare aerial perspective, linear perspective. 2.) A picture employing this technique, especially one in which it is prominent: an architect’s perspective of a house. 3.) A visible scene, especially one extending to a distance; vista: a perspective on the main axis of an estate. 4.) The state of existing in space before the eye: The elevations look all right, but the building’s composition is a failure in perspective. 5.) The state of one’s ideas, the facts known to one, etc., in having a meaningful interrelationship: You have to live here a few years to see local conditions in perspective.

Okay so know that you have these tools you can start to see form in its relationship to space. When you create your drawing keep in mind the space and perspective of what you are drawing. Light and shade emphasize the solidity of the construction of your drawing.

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Sharing New Paintings

New

New painting!

I know it has been awhile since I had done any art. I felt the desire to start painting but I did not have the energy. Sorry folks I never thought my illness was going to affect me the way it has. My mind which runs a mile a minute is going through a long recovery period so bear with me while I am on the mend. I am working and have started two new paintings and will share them with you as the develop. I have found photography has helped me and I have that to share with you also.

When I paint I usually have more than one painting going at a time, I also am constantly drawing inspiration from every thing around me. Drawing at least two to three times a week for now. I need to tap into my brain and find the skills it takes to create a piece I am happy with.

Having meningitis real hurt my brain and how it functions. I will be retraining my left side to mirror the right side in my thoughts and actions. This may not make sense to you and it took me awhile to figure it out myself.

 

Painting Pond

Under Painting

The under painting is putting your shapes on the canvas. Keep in mind in you will keep building on your painting.

 

The painting is taking shape.

The Picture Area

 

Adding color to bring more depth.

Building Depth In Picture Area

As I was painting these pictures I found that some things I was doing was working well with the composition.

 

 

This picture is coming together nicely.

The Pond

 

20130827_132109

 

 

Perpared canvas for my new painting.

I start with a light background on this new painting.

 

Building the picture area with shapes to balance this painting.

Painting shapes in light and shadow.

 

The under painting

Looking though the grass. A painting of my Dalmatian Grace

 

 

This painting follows the same process as the one above.

Building the composition with shape.

Looking Through The Grass

 

Things are looking pretty good. Feeling inspired.

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