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5 Fundamental Skills Every Artist Should Master
by BOBBY MYERS on AUG 9, 2013
Type: ARTICLE
As an artist, your job is to immerse your viewers into a world
that you have built
and guide them safely through it. Artists have much in common
with storytellers.
Storytellers have several tricks that they use to keep their
readers coming back for
more. Like storytellers, artists can use similar tricks to help
them produce more
compelling artwork. In this article, we will explain 5
fundamental skills that every
artist should master. Let's take a look!
1. Composition
The most important aspect of art to me personally is the
composition. It sets the
stage for everything else. This is your way to guide and lead
the viewer to make
them feel as if they are actually in your picture. If this part
of the process is not
created and controlled properly, everything else can and
probably will fall apart.
That doesn't mean that you have to follow every little rule. In
fact, many have
broken them and created very successful works of art. It's
knowing how and when
to break them that will allow you to do it successfully. But
before attempting
anything like that, you first need to learn the rules and see
how they work and
function.
Rule of Thirds
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This is the simplest and most used composition technique, one
that I use a lot
myself. Because it is simple to learn, it's something that is
recommended for
beginners and those who are new to the fundamentals of
composition. When used,
it will divide the picture into 9 equal parts that are separated
by two horizontal and
vertical lines.
The main idea behind this is to place your most important
element/object on one
of the intersections where the lines converge (the +'s), as well
as along or near the
vertical line of wherever your focal may lie.
It is believed that when this is used and your subject/focal
sits on one of these
spots, it creates more interest in your picture rather than
having it centered.
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In contrast to what was stated above, this particular
composition sets the focal
point directly in the center of the picture. Although it is
mostly used for
character-based pieces, that does not mean it can't be used for
other means, it also
explains why a central focal point is desired.
For character artists, one of their goals is to place the
character right in front of you
and draw as much attention to it as possible. There is no better
way than to put
them right in the center of things. Which is why this
composition is most appealing
for characters (but again, don't let that sway you from
experimenting).
In addition to the central focus, the diamond shaped guide shows
us where we
should be placing most of our attention and detail. The viewer
obviously won't be
seeing your work with these guides on, so you must show them
what is most
important in your piece through lighting, color, detail and many
other things.
Anything outside of this diamond is not nearly as important and
should not attract
as much or more attention than what is inside of it.
You can use these basic guides either as a starting point for
more complex
compositions or to create an entire piece. The choice is up to
you, but my
suggestion is to learn about them completely before taking on
more complex
compositions. Also, there are more composition rules and
examples out there that
bring up many other points than what I list here. I encourage
you to search them
out and read them.
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Leading the Eye
Now, let's take a look at some other examples of how to direct
the viewer's eye to
the focal point.
In PI-2, you can see how the light immediately locks your eye
into the focal point
because of the strength and intensity. Other factors of this are
color, placement
within composition (rule of thirds) and because almost everyone
in the scene is
looking at the focal point it creates an implied line and causes
you to as well. What
keeps us locked into the focal point here however is the
circular motion of the
people floating in the air.
In Crysis 2 (below), the artist used light, color and placement
within composition
to guide the focal point. The most obvious and beautiful lights
are coming from the
spotlights and headlights from the vehicle, which all point
towards the focal point.
Secondly you have gunfire from the weapons converging on it,
leading your eye
directly towards it. Lastly, the artist used the rule of thirds
for placement in this
composition. Another point could be made for how much action is
being taken
place within that area. All of these have lead to a successful
piece that clearly
defines the focal point and the areas surrounding it.
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In the piece below, the artist uses the walkways that form
around the pillar to lead
the viewer into the focal point. As the dragons fly around it we
follow them, which
keeps us in this area longer. Because the pillar is in shadow
and bright light is
directly behind it, the artist has also used values and contrast
to make it stand out
even further.
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In the artwork below, I used a number of elements to direct the
viewer's attention
to the focal point (the castle). The arch in the background and
the bridge over the
waterfall are both going directly into the castle. Since the
image has a slight angle,
all of the mountains appear to be leading to the castle, which
helps point the viewer
in that direction as well. One other thing helping the castle
stand out is the color
used on the tops, which is contrasting against the yellows,
greens and reds that
surround it.
In the image below, I have shown how you can keep the viewer's
eye from easily
escaping the image via framing. You can probably see how this
works just by
looking at the image. But what I've done here was use the "arm"
parts that are
coming out from the red entity as a way to frame the image. This
technique can be
used to "lock" the viewer in the piece and keep them in longer.
It can be overdone,
but if you keep it to a reasonable level, it can come in handy.
One downside to this,
especially if overused, is that it can become annoying and make
the viewer want to
leave sooner.
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2. Perspective
Everything has a perspective. When standing in the street, look
around and notice
which side of the buildings you can see and why you see them all
from different
viewpoints. Then while you're at it, go ahead and look down a
road, why does
everything appear to get smaller as its distance is further away
from you? All of
these things have to deal with the perspective of those objects
and your viewpoint.
Perspectives are an essential skill to learn, for architectural,
environmental and
many other reasons. They provide us with a way to create and
build elements and
objects and correctly place them within the picture plane.
Perspectives rely on the
horizon line (or sometimes called the eye level line) to find
what is called a
Vanishing Point. Vanishing points are where your perspective
lines will originate
(see below examples).
One-Point Perspective
This is the simplest of all perspectives to learn, but one that
is not widely used a
whole lot because of its limitations. That being said, it can be
very beneficial,
depending on what scene you are creating. In this perspective,
there is a single
vanishing point going back to the horizon line, which the object
is receding to.
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Two-Point Perspective
When more than one side of your object is receding back to
multiple areas, you will
need to use a two-point perspective system. When used, you will
create two
vanishing points, each on one side of the object/element. These
points will again
originate from the horizon line, and the perspective lines will
run from this point
all the way to the object. There is where you can really start
to see perspectives
shift.
Most times your vanishing point will be way outside of your
picture, but don't
worry. If working traditionally, you can always use extra paper
to measure the
exact distance. If working digitally, extend the canvas out
until you find your
vanishing point.
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Three-Point Perspective
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The three-point system is used when you really want to convey an
extreme
situation. It can be useful for scenes that are playful (doing a
scene from a bird's or
dog's eye view), exciting (action), and many more. To achieve
this perspective, you
will be using the exact same system from the two-point, but
adding in a third
vanishing point that is either above and below the
object/element.
The third point acts exactly the same as the other two, so don't
get tripped up by it,
there's nothing sneaky about it. The only difference here is
that the top or bottom
(the verticals) of your object will adhere and recede back to
this point. Which is
what gives us that warped look and feel.
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Let's a look at some examples that show great use of
perspective:
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3. Value
Values are the range of brightness and darkness within your
image. They are white,
black and everything in between. Even with color, how dark or
light that color is
(tints or shades) is a value. The closer something is to the
foreground, the darker it
will appear (depending on lighting and other things, of course),
anything receding
away from it will gradually get lighter as it fades into the
horizon (in terms of
landscapes). Take a look at the graph below and use it as a
reference for when we
discuss this more in depth further down.
Even more so than colors, the values of your work are one of the
most vital
elements of whether or not your piece will be successful. If the
values do not read
correctly (being able to distinguish FG from MG to BG, and/or
the focal point from
the surrounding area), then it wont matter how great your
composition, lighting
and colors are, the piece as a whole will fail because the
values dont read properly.
So, what do I mean by them being able to read properly? Well,
lets take a look. The
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image below is a value study by Claire Almon that was done for
one of her Marie
Antoinette pieces (further WIP with color is posted below this
image). Take note of
all of the different values within the image and how you can
clearly distinguish
each element apart from the other. Values help determine the
overall lighting in
your scene and how one object looks against another (which can
help with
composition and a whole list of things).
More importantly though, values separate distances within the
ground plane, and
its with this separation, when done correctly, that allows the
viewer to read your
work the way you intended and lead their eye to the focal point.
Its from here that
you can then work on and begin finalizing your color schemes as
shown below.
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Here are a couple more examples of using values correctly. Take
note of the
different values used within one single image/design to help
tell each element
apart.
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4. Color
Much like lighting, the color of your piece depends on many
things; the time of day,
season, location and so on. Determining the color scheme is
important to do early
on, even from the start if you can. Remember that things will
always change and
evolve, so the colors of your piece most likely will as well. As
with everything, just
because something looks good at one point, doesnt necessarily
mean it always will.
So dont be afraid to mix things up along the way and find
something that might be
better suited for what you're working on. Keep in mind that its
very easy to go
overboard with color as well, so know when not to mess with
it.
Knowing how to choose your color scheme depends on the time of
day, the
weather/sky, what season of the year it is, and whether or not
youre on an alien
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planet or in space. There are countless things that could help
shape the colors of
your painting, so its best to get an idea of what they are
sooner than later to
minimize headaches before heading into the final stages.
The color you choose should display any emotion or situation you
want to convey
to the viewer. If you have a fun or action piece, bright and
vibrant colors might be
your best bet to display that sense of action and intensity. If
you're going for
something a little more moody and withdrawn, you could then
always opt for a
darker and less saturated overall color scheme, but have your
focal point be the
more vibrant than the other parts. There are many variables that
can lend to what
type of color you use for your piece. Your job is to figure out
which of them will
work best.
Here are some examples of how color is used effectively to help
storytelling,
emotion and to guide the viewer's eye:
In the GOLEM image, the artist has built strong color around the
focal point, which
clearly signifies where most of your attention should be payed.
The colors that
surround the toy figure lend to this piece's playful nature, as
well as add a layer of
mystery and fantasy. The outer parts of the composition have
earth tones, which
are not too saturated. This helps the focal point further stand
apart from the rest of
the image (while maintaining balance) and allows for the playful
side of the
subject/theme to be fully explored.
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Here we have a contrast of color, which makes the focal point
stand out. This is one
of the most-used ways of using color to achieve good composition
because it is both
effective and dramatic in terms of composition and
storytelling.
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In this piece, I used the holographic screens on the landing
pads to set it apart from
all of the other elements in the scene. Since it is the most
saturated part in the
composition, I knew the viewer's eye would always eventually
gravitate back to this
area because it was the most interesting. I also wanted the
feeling of an older
science fiction work, so I stayed away from really vibrant
colors.
5. Lighting
Like all major elements of art, lighting is crucial. Mainly
because the average
viewer knows what realistic lighting looks like, even if they
dont know exactly what
it is that makes it look real. They can usually tell if
something is working or not.
Sometimes you can get lucky and fool them, but most times it can
break your shot
and make all the hard work that was put into your piece wasted
time and work.
And that's definitely not what we want.
So, in order to know how light reacts to the environment and
different materials,
go outside and study it. If you are basing a piece off of
something else (e.g., youre
your photographic plate in terms of matte painting or anatomy
for painters), study
it until you can confidently tell somebody else how it looks,
feels and functions.
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Using photos is fine, but theres an almost infinite source just
outside those walls
you are in waiting for you.
Much like color, lighting can convey much emotion and depth.
Let's take a look at
how this can be achieved.
Once again, in the image below, there is strong lighting that's
being cast on the
focal point. The shadows in the foreground create depth in the
image and allow for
the viewer to get a clear view of the focal area without the
foreground going
unnoticed. Because the foreground is in almost complete shadow
and the
midground is where we see most of our light, this allows for the
viewer to have a
greater impact on the focal point and what is happening in the
scene. Almost
immediately they see the destruction of the world around them as
if they were
there on the street.
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Being a master of his craft, this piece by Dylan Cole makes no
exception. Both the
foreground and background are lit to display all of the work
that went into it, while
the composition is pushing you into the background towards the
focal point.
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Conclusion
So now that we've covered all of these topics, I'm sure you're
wondering how to use
and incorporate them into your work. This, just like anything
else, is about
becoming familiar with them and practicing until you have a
clear understanding
of what they are and how to use them properly. Remember that we
all learn
differently, so if it doesn't come easy to you don't be
discouraged. Just keep
pressing on with small studies of each of these topics. After a
while of doing them,
you will notice things that you hadn't before and that is when
you will start to learn
and really push yourself.
Thanks for taking the time to read this article. I really hope
you are able to take
from this and apply it to your work and learn from it. Just
remember that every
great artist that you look up to started from the bottom and had
to work their way
through all of these skills. Continue to push yourself in the
right direction with a
strong goal in mind and you can become great at what you do.
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22 comments
Best Community Share
forevermachine
Nice article, I like all of your points. However, I don't think
artworks will "fail" if they don't
follow these rules. Sure you said many pieces or art break the
rules here and there, but I
don't think they break them in a specific manner or a specific
way.
When I make a piece of artwork, I want it to exist in it's own
universe. I want it to have it's
own reality.
But then again, I'm not a strict realist and it doesn't bother
me when my pieces deviate
from the realm of normal possibility. For some people, their
taste and preference for their
own work obviously will follow a different set of standards. In
that regard, so will the taste
and preference of those viewing and appreciating the finished
work. This is why when I
read absolutes such as "always" and "fail" and "need" and "have
to" in an article, I find it a
little bit extreme. However I do appreciate that you noted about
art breaking the rules as
well.
Remember, only a Sith deals in absolutes!
15 1
Bobby Myers
You're absolutely correct, it was my mistake to say it in that
way. What I meant was
it won't be as fundamentally sound (with whatever rule they
choose to bend/break),
but that most certainly doesn't mean it won't be as good as any
other piece. I have
seen many pieces that go against these guides and are amazing
pieces because
the artist knew how to bend the rules in their favor.
It wasn't my intent to come across as one-sided.
2
Alex
Unfortunately, when dealing with human eyes and brains, you
cannot escape these
rules. It doesn't matter if they aren't as strict as gravity.
You argument is the main
reason art decayed as it did. Not following rules that *work*
won't give you any
freedom, on the contrary, will only help you deviate from your
goal, which has to be
to keep people interested in it.
The rules specified here are but a mere fraction of all
compositional rules you can
use. They should encompass all and every possibility for
expression. You can't just
do whatever you want and expect to succeed. There's nothing
wrong with being
wrong and fixing it. It isn't impossible to achieve anything
with a work, but it must
be done correctly or it simply won't get there. These rules are
meant to help, not
interfere. Unless your position is one of contemporary "artists"
who glorify into
'nothingness', want to shock and to weird viewers out.
8
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