Imagine playing in a band that just wanted to “wing it”, without any structure or practice. Clearly this would be a disaster. In this scenario, each musician in the band would play their own version of the song, perhaps in different keys, at different tempos. The resulting sound would naturally be repulsive.
Thankfully, successful musicians recognize the importance of planning a song from start to finish. They practice the arrangement until every band member is clear on the structure and order of the piece before performing the song to an audience.
Compositions in art should not be that different. We cannot expect to get great results from just diving into an artwork without planning. We cannot just “wing it”.
However, many beginners do just that. And when the work is done, the composition becomes an afterthought. But at that point, it is too late to make changes.
Instead, composition should be paramount to the art-making process. It should be considered and planned right from the start.
Five Strategies For Strong Compositions
1. Create Thumbnails – Thumbnails are small preliminary drawings that serve as a roadmap of sorts. These are small, loose, and quick drawings. It is important that thumbnails are proportional to the finished surface.
Thumbnails allow the artist to make comparisons between shapes, values, and space that will manifest in the finished art. Compositional issues will show themselves in a thumbnail drawing and changes can be made early in the process.
While there are no rules concerning how many thumbnails to make, I would suggest to making at least “3”, even if you are convinced that the first one that you draw is the best.
The more that you create, the more creative opportunities will reveal themselves to you.
2. Consider Balance – Every element that you include in a composition will have a visual weight. Larger objects that occupy more pictorial space will be “heavier”, while smaller objects will be “lighter”. Compositions should be balanced based on the visual weight of the elements within the picture plane.
A good way of thinking about this balance is by comparing it to a teeter-totter.
Visually “heavier” elements will need to be balanced by negative space and “lighter” elements.
In the above example, the red circle is placed closer to the center of the composition to balance the smaller yellow square on the far left of the picture plane. Ample negative space is left on both sides to balance the weight.
In the second example, an additional yellow square is added. To balance the composition, the red circle is moved to the right, since it is visually “heavier”.
3. Create Eye Movement – Eye movement refers to the manner in which a viewer interacts with an artwork. Your eye typically “enters” the work, flows through the piece, and then exits the picture plane at some point.
As artists, we can control (to an extent) how our viewers “move” through the work. The arrangement of subjects and elements within the picture plane can affect the “flow”.
Ideally, you will want the arrangement to pull the viewer’s eye around the entire composition. Avoid having a centralized focal point which cause the viewer to get “stuck” in the piece.
4. Create Unity By Repeating Colors – Good compositions are unified. One of the best and easiest ways to create unity is through repetition. Repeating elements or “motifs” in an artwork will almost always lead to a harmonious arrangement.
Of course many different elements can be repeated – line, shape, textures, etc. However, some people overlook the importance of repeating colors.
If a color is used in one location of the artwork, it should probably be used in another location of the piece. This action balances the use of color and helps to harmonize the composition.
In the above example, light purple is used throughout the composition. It is placed on a variety of objects in order to unify the color usage in the work.
5. Check Your Composition in a Mirror – Throughout the process of planning your composition, you should always be checking the success of your decisions. It’s easy to get caught up in the “artistic process” and not see your work with a “critical eye”.
To give yourself a fresh perspective, try holding your composition up to a mirror. You will see a reverse image of your arrangement and often see mistakes that were missed.
Strong compositions are typically strong no matter which way they are viewed. So, if your composition passes the “mirror test”, then it’s probably safe to assume that you have a strong composition on your hands.
Next time that you sit down to create, consider your composition. Thoughtful planning can go a long way in improving your compositions and your success as an artist.
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The Best Books for Learning How to Draw
Instructional videos are great for learning because the artist can demonstrate techniques in real time and explain their actions and thought process throughout the video. Instructional videos meet many styles of learning and for this reason are a popular platform for learning. Videos are also more accessible than ever. Just about any skill can be learned by watching a series of videos on the internet.
Now that videos are part of our everyday lives, it’s easy to overlook the wonderful information that you can get from traditional books.
Books are Special
There’s something to be said about holding a book in your hands. The thickness – the weight. The stiffness of the binder. A book is like a new adventure in your hands. There’s a special intimacy with a book. I had my favorites growing up (art related and non-art-related). I can still remember spending hours with certain books, studying the pictures over and over again. As much as I love technology, some experiences you can only get from a physical book.
Along my journey of drawing, several books have had a great influence on me and have helped along the way. I’d like to share with you three of the books that I have most enjoyed and provide a little insight on why they were helpful.
Books for Drawing
(Some of the following links are affiliate links which means that I earn a small commission if you purchase at no additional cost to you.)
Drawing on the Right Side of the Brain
No book has a greater influence on my drawing development than Drawing on the Right Side of the Brain by Betty Edwards. I was first introduced to the book when I was about 11 or 12 years old but overtime it has helped to mold my opinions about drawing.
The book presents an analytical approach to drawing. It suggests that drawing is an activity that happens in your brain and that anyone is capable of drawing well. The book explores how our mind sees and understands the world around us. By understanding how we see, we are better equipped to communicate subjects in our drawing.
The book includes drawing exercises and case studies while providing the knowledge and mindset for success in drawing. This book is highly recommended for anyone wanting to improve their drawing skills.
Click here to buy Drawing on the Right Side of the Brain
Drawing Course – Charles Bargue and Jean-Léon Gérôme
A 19th century classical drawing course which presents a series of “plates” to copy. It is a presented as progression of drawing exercises. Each exercise builds upon the last. The entire “course” is focused on observational drawing from a classical perspective. Many of the plates are drawings from cast sculptures. It is incredibly detailed-oriented.
The course eases the student at the start with line drawing exercises but becomes extremely rigorous. I can honestly say that a beginner may become discouraged and put the book down, so I would recommend this book for intermediate and advanced artists.
If you are serious about drawing, then this book needs to be in your collection.
Click here to buy Drawing Course – Charles Bargue and Jean-Léon Gérôme
Drawing for the Absolute and Utter Beginner
This book is a fantastic book for beginners. I have this book in my collection and I still refer to it on occasion. You’re not going to find elaborate drawings that are overwhelming for the beginner. Instead, you’ll find straight forward strategies for finding success with drawing with examples that are actually manageable for beginners.
Lessons within the book are logically sequenced so that each lesson builds upon the last. The book is beautifully laid out and easy to follow along with. What I especially like about the book is that it clearly points out common beginner mistakes with illustrated examples. It then clearly explains how these mistakes are resolved.
These are just a few of the books in my collection that I refer to often and cannot do without. They have helped me along my drawing journey and I am sure will help you along yours.
Click here to buy Drawing for the Absolute and Utter Beginner
Do you have any drawing books that you absolutely love? Share them in the comments below.
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We Can All Be Masters
It’s mesmerizing to watch masters work, layering mark after mark with such speed, grace, and accuracy.
Unfortunately, for someone with less experience drawing, watching a master work can also be discouraging.
We watch the master work and think to ourselves, “I’ll never be able to that”. We make the assumption that the master has an ability that we don’t have – often referred to as “talent”.
And when we dismiss the skills of the master as a “talent”, then we cut ourselves off from ever attaining the level of skill that we are all capable of.
The reality is that we can all be masters. The problem is most of us simply don’t believe this.
Let’s take a look at a few examples. Maybe they will help to silence the voice of the doubters.
Case Study #1 – Mozart
Wolfgang Amadeus Mozart composed over 600 works in his short life. He was considered by many to be a prodigy, composing his first work at the tender age of 5. He has influenced countless composers and is clearly considered a “master” in his field.
It’s easy to brush off Mozart’s accomplishments as acts of “talent” – that he was simply born with this skill. After all, how else could anyone compose at such an early age?
It’s when we look deeper into Mozart’s life that we find the real secret to his mastery.
Mozart’s father, Leopold Mozart, was an accomplished composer himself. Not only was he a composer, but he was also a teacher. He even wrote a textbook on the violin. (Coincidently one of Mozart’s first instruments.)
So, this begs the question, would Wolfgang Amadeus Mozart have ever become the great composer from history if it were not for his father’s instruction?
Case Study #2 – Picasso
No introduction is necessary for this master. We all know the accomplishments and fame of Cubist artist, Pablo Picasso. He is, perhaps, the most influential artist of recent history.
Like Mozart, Picasso was considered a prodigy, showing great artistic skill at a very early age.
But it was by no accident! Like Mozart, Picasso’s father, José Ruiz y Blasco was also a drawing teacher at the Escuela Provincial de Bellas Artes. He guided his young “soon to be famous” son to art and helped to develop his skill.
Case Study #3 – A College Mate – It’s Never Too Late
It’s easy to dismiss the examples of Mozart and Picasso. It’s easy to point out that they started so early, convincing yourself that it’s just too late for you.
Luckily, it’s never too late to become a master. I have personally watched a person grow from a true amateur to a master in just four short years.
In art school, students are always comparing their skills to those of their classmates. It’s a competition of sorts, especially when your specialty is in illustration, as mine was.
I remember meeting Sean (Not his real name) in one of my drawing classes during my first year in the program. He was terribly shy and awkward.
I wish that there was a nice way to say that Sean’s work was terrible. But there isn’t, so I’ll leave it at that.
I remember thinking to myself, “What is this guy doing in this program?”
I knew that he wouldn’t make it and by year’s end, he’d be majoring in “Business”.
But every time I came to the studio, Sean was there. In a back corner of the room, he would sit, talking to no one, but drawing intensely. Late at night or early in the morning, it did not matter. Sean was there and he was working.
Over the next four years, Sean’s work improved. It was gradual, but it was noticeable.
His improvement was a direct result of hard work. It was his desire and commitment.
Each graduating class issues an award for the most outstanding student. Sean won the award for “The Most Outstanding Illustrator” for our class. He was clearly the best.
Sean had become a master.
The Master’s Hand
When we see the master make marks in a drawing, we are watching the expertise that has been developed after hours upon hours of practice. There’s nothing magical or mystical about it.
Over time, the ritualistic practice of the craft turns into intuition. Marks are made with speed, grace, and accuracy. In the beginning stages however, they were slow, awkward, and inaccurate.
Michelangelo is quoted as saying, “If people knew how hard I had to work to gain my mastery, it would not seem so wonderful at all.”
The question isn’t whether or not you’re capable of becoming a master – the question is how hard are you willing to work to become one.
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Why Art Teachers are The Most Important Teachers in the School
Let me first be clear – ALL teachers are important.
I think, however, that there is a tragic misconception when it comes to art teachers, and other teachers in the Fine Arts for that matter. Some schools refer to these teachers as “Specialists”, which is a bit derogatory. Referring to them in this way, makes them sound expendable. And unfortunately when budget concerns come up, they are often the first teachers to be cut. This practice simply has to end, because our future is at stake.
The World Has Changed
In the last decade, our world has changed dramatically. If you look at the changes that have taken place in just the last twenty years, it is even more overwhelming. Yet educational philosophies and practices have been painfully slow to keep up. We are teaching students today in the same manner that we taught them twenty years ago.
Preparing them for a world that simply doesn’t exist anymore is a massive mistake.
We are starting to see the results of this educational debacle in the number of young people that are college educated, yet cannot find a job. Twenty years ago, if you were qualified, jobs were easy to find. You went to work for a corporation, firm, factory, or service industry and earned a nice paycheck. These jobs still exist, but they are fading away. Our world has changed, and if we don’t wake up, our future generations will suffer greatly.
We are teaching students to go to college to learn how to work for someone else in positions that are disappearing. It’s no wonder why we have so many “qualified” young people that are jobless.
The following video by Seth Godin, one of the most influential thinkers of our period, nails it…
Why Are We Testing So Much?
Our students are tested far too much. The result is that students want to know the answer so that they can put it on a test. We have taught them to believe that there is just one right answer to a problem and if it’s not on the test – it’s not important. The world doesn’t work this way. Testing has its place, but it should be a measure of the teacher’s success or failure in teaching the material – not a measure of the student.
The problem is that our students are not learning to be thinkers. Instead, they are learning to be memorizers, which is pointless in the new Information Age in which we exist. Students possess the world’s collective intelligence at their fingertips, many of them carry it around in their pockets, yet so many schools ban the use of cell phones.
The Internet Has Created a New Period in Human History
The internet and related technology has changed the world and should change the manner in which we approach educating students. The internet has made it possible to accomplish things that were not dreamed before its inception. It has changed the way commerce works and it has changed the world economy for which we are preparing students.
We should be preparing students for the new world, one that harnesses the technology that exists, one that pushes humankind forward. The key is creativity and innovation, and teaching these two things are the art teacher’s specialities.
The New Renaissance
Never in the history of mankind has there ever been a better time to be a “creative”. It is the creative individuals that are finding success today. Simply look at at the world around you, and you’ll quickly notice the opportunities that exist for those willing to be creative, to take chances, to innovate.
It is my opinion that we have already entered into a new Renaissance, one in which true artists are flourishing and will be for the foreseeable future.
What Art Teachers Do
Art teachers teach creativity and innovation. They teach multiple answers to problems. They encourage mistakes and experimentation. They teach students to be thinkers – not memorizers.
Art teachers are teaching the essential skills that are necessary for students to be successful in this new age.
So why are we cutting the most important positions from our schools?
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Linear Perspective That Is Truly Moving
The most common forms of linear perspective include:
- 1 Point Perspective, which uses one vanishing point placed on the horizon.
- 2 Point Perspective, which uses two vanishing points placed on a horizon line.
- 3 Point Perspective, which uses two vanishing points placed on a horizon line, and another placed either above the scene or below it.
The Italian architect, Fillipo Brunelleschi is credited with “discovering” linear perspective early in the 15th century. It has been used by countless artists, architects, and designers throughout history.
Perspective, being a rigid and calculated approach to drawing, has the potential to produce drawings and paintings that may translate as “stiff” and “stale”. If the artist is not careful with its use, the work can look manufactured or synthetic.
But what if the painting itself seemed to move according to your viewing angle?
“Reverspective” by Patrick Hughes
Patrick Hughes, a London-based artist, has managed to make truly moving paintings using perspective. He is recognized as the creator of “Reverspective” – an approach to painting that creates an optical illusion. As the viewer approaches and views the painting, the imagery appears to move according to the viewing angle. As the name implies, it is accomplished using perspective, but in reverse.
Have a look at this video in which Mr. Hughes explains the paintings and be amazed at how your brain and eye reacts to them…
Here’s How it Works
The works are produced as relief paintings. The areas of the painting in which you would expect to recede towards the vanishing points, actually protrude instead. This is accomplished by creating a painting surface using raised surfaces that are cut and assembled at precise angles. Everything that is rendered in the painting is done so according to the rules of perspective. The result is a painting that appears to move according to the viewer’s angle.
If you are looking to try this out on your own – a resource and a warning for you.
UPDATE: The resource is no longer available, but the warning is important!
Now for the warning…Patrick Hughes is the creator of “Reverspective” and is protective over his creation. He seeks out artists that copy his methodology, and according to his website, sues them. He also posts a listing of the artists that use his idea, adding written insults about them on his site. You can read them here.
Additional Resources
You can check out more about Patrick Hughes at his website…http://patrickhughes.co.uk/
Mr. Hughes is also an author and has published several books. You can take a look at his books and purchase here.
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Perfectionism – The Enemy of the Artist
Do you find yourself not finishing a drawing or painting because it’s “not right”?
Do you frequently start over?
If you answered yes to any of these questions, then you are facing a mighty enemy – an enemy of the artist.
This enemy robs your productivity. It steals your creativity. It can make you question yourself as an artist. It can leave you feeling discouraged. It can ruin your artistic journey – if you let it.
Most artists have wrestled with this enemy at some point. The successful ones overcome it.
Know Thy Enemy
The enemy of the artist is perfection.
It will never be achieved in a work of art. Nor has it ever been achieved in any work of art that has ever been created.
If we approach the surface with an expectation of perfection – then we are doomed from the start. We will get stuck. We will not finish. We will start over.
Perfection is unattainable.
As soon as imperfection is accepted – or even embraced – then our work improves. Our growth is renewed because the restriction of “perfect” is lifted.
Ironically, it is the imperfections that draw most of us to creating. It is the imperfections that pull us into artworks – and make us stay there. The brushstrokes, the marks, the visible “hand” of the artist. It is all imperfect.
Artistic Excellence is Not Perfection
We should strive for artistic excellence, but not confuse this with perfection. Perfection is unattainable. Excellence is achievable.
The definition of excellence in a work is different for everyone. Every critic, every artist, every person will define excellence on their own terms. The only definition of excellence that matters to the artist is the one that they define for themselves.
Excellence does not happen when perfectionism is in the way. There are no excellent unfinished works. Excellence occurs from study, practice, and execution. Excellence is born from mistakes.
How to Defeat The Enemy
If you are one of the many artists that is struggling with perfectionism right now, let me offer an approach to defeat it.
1. Recognize That Your Work Will Never Be Prefect – You must first accept the notion that your work will never be perfect. Not only accept this idea, but embrace it. Remember, it is the imperfections that pull others into our work.
2. Finish Every Work – Make a commitment to yourself to finish every work that you begin. Work through the imperfections, even with simple sketches in your sketchbook. At all costs, form this habit.
3. Strive for Excellence, Not Perfection – Excellence is developed over time and only happens as mistakes are made. Therefore, mistakes should be embraced – they are a sign that growth is happening. Don’t ignore them, but allowing them to stop you leads nowhere.
You Are Not Alone
When the enemy rears its ugly head, remember that you are not alone. We all struggle in our battles against it. It is one of the biggest killers of creativity. It is a powerful enemy – but one that can be defeated.
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30 Day Sketchbook Challenge
It’s time again for the annual contest here at TheVirtualInstructor.com. Each year, about this time, I host a contest. Past contests include a book give away and an artist’s postcard event. This year’s contest is…“The 30 Day Sketchbook Challenge”.
The Challenge
The challenge is simple. For the next 30 days commit to draw at least one sketch in your sketchbook from observation every day. Each sketch should represent 20-30 minutes of attention (it can be more). It can be any subject matter that you wish, but it should be drawn from observation. Any medium is acceptable.
How it will Work…
If you chose to take on the challenge, draw a sketch in your sketchbook every day for the next 30 days. Choose one of your sketches and post it over at the forum. I have created a special thread for you to do so here. (If you are not registered at the forum, you will need to do so before posting – it’s free.)
You do not have to wait until the end of the contest to post your work. If you complete a drawing today, and want to share it – go for it. You can share as many of your sketches as you like. (But please keep them clean and appropriate. I will remove any images that violate the terms and conditions of this site.)
On September 10, 2014 the contest will end and I will choose one winner at random from the posts on the thread.
The winner, which could be you, will be notified by September 15, 2014.
What You May Win
If you are the winner, you will get the following…
- Lifetime Membership at TheVirtualInstructor.com (If you are already a member, you will become a lifetime member and all recurring fees will be canceled.)
- TheVirtualInstructor.com T-shirt
- Sanford Prismacolor Premier Drawing Kit
- Hardbound Sketchbook
- Prismacolor NuPastels set of 24
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Losing Edges in Drawings
When it comes to representational drawing however, there comes a point when we need to push our concept and understanding of line and its purpose for defining edges.
Line doesn’t need to be used as a defining element for all edges. At least not in the way we may understand it to be.
How We Comprehend Line
Let’s first examine how we see line. Our minds usually translate and comprehend the edges of objects because of contrast. These areas of contrast may manifest through value, color, or texture. Our mind notices these differences and when start to draw them from observation, the natural tendency is to communicate them through the use of line.
If we are to take our drawing skills further, we must shift our use of line in a drawing. While it can and should be used for defining the shape and locations of objects within the picture plane (especially in the preliminary stages of the process), it should not become the only factor for defining objects.
Implied Lines
Because our concept of line stems from an observation of contrast, our tendency is to use it in our drawings in the same manner. Often times, the contrast that is added in the drawing is much stronger than the contrast that is actually observed or is drawn in a manner unlike what is observed. This happens because our analytical left brain intercedes in the drawing process and formulates a “plan” for communicating the edge.
Instead, implied lines should be used to define objects and create the necessary “edges” of objects.
Implied lines are more closely related to the way our minds “see” objects. By understanding implied line and recognizing the approach that should be taken to create them, we can bypass our analytical left brain and create a drawing that is more accurate to what is observed.
Implied lines most often happen on areas where the contrast between the object and the surrounding objects or elements is subtle. They may exist on the edge of an object that is receiving light, producing an area of highlight set against a light background. Or conversely, in an area of shadow against a dark background.
Practice This Concept
Once the concept of implied line is understood, it is easy to apply to our drawings. Understanding what we are actually seeing, without letting our “left brains” intercede is an essential part of representational drawing. Simply acknowledging the influence of our left brain on our use of line is a huge step.
We can reinforce this concept and train our minds to function as our eyes do by drawing without line completely.
Find a relatively simple object to draw. In “The Secrets to Drawing Course”, an egg is used for this exercise.
Place the object on a surface or in a setting that closely matches it’s texture, value, and color to make the exercise a bit more challenging.
Draw the entire scene within a defined picture plane on drawing paper or in your sketchbook, but do not use line. Instead, draw using only value. Allow the contrast that happens between the value, color, or texture create the “lines” in the drawing.
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