Draw Dynamic and Bold compositions



hello everyone and welcome back I'm Tyler Edwin and this is another episode of brush sauce theater now today we'll be talking about drawing bolder and dynamic compositions a lot on this channel I've I've covered values may be over extensively so we're gonna look at that step that comes before values before adding color and light to your image and it's all the way at the back at the bottom of our foundation terms of composition and design and that's drawing and that's the structure so today I have laid out three different levels of student work that I currently have going from you know kind of week to a bit better and we're gonna analyze and kind of talk about the compositional shapes and the design of the structure of them not so much the values so this is one students here who has been working on some comps you know a simple scene in structure a horse a rider a canyon perhaps some like storytelling elements now value edges everything aside what we did first when we went over this was I would cover the canvas like so I lowered that canvas and I go how are your shapes doing you know what it what is working what is the movement what is the designing principle going on in your scene I'm kind of first and foremost concerned with that so right if I just kind of I'm gonna use this purple to highlight this now if I'm if I'm drawing and I'm basically highlighting and I'm and I'm tracing the scene you know to find the edges to find the shapes to figure out the flow you know with the composition it's gonna look something kinda like this now this in every scenario is a bit of an over simplified version of it and that's fine that that's kind of what we want like that shape I have here for the writer oh I got to work on that all right we have the horizon line we have a nice bold shape here we have a shape here again we have our a writer and we have some waterfalls so this is like if we take the image we break it down and look at the bare-bones minimum you know structure in a scene what are we what are we basically left with and as you can see we're getting quite a mixed results there's all kinds of things happening some of them have a flow some of them are guiding and have a path to bring the viewers eye in and around sometimes it leads us in sometimes it leads us out but more often than not when I'm looking at these shapes I'm seeing a lack of sophistication of them I'm not sure how they're supposed to make me feel you know as the viewer and I'm I think that's where again force and foremost these could be improved the most before we look at the value before we look at the lighting it's just the raw you know shapes you know of the composition of the design of the image so now we'll look at a different batch from kind of a student that's just a little bit further along here and this person's getting it a bit more so they a very grand very ambitious idea they want to do an establishing shot of the city so again kind of the further you zoom out on a shot like this the more the shapes have to read the more the silhouettes are gonna play up and in terms of importance so these are all fairly clear like I can look at these and I can understand what's happening so that that's a good thing well this one's a bit rough out there will not talk about that one but overall I think even with slight tweaking on these they could all be pushed there then these are fine these are fantastic for first round sketches and in this scenario what I recommend the student is I go you know what is your favorite one what do you like so far the most and in this case the student you know choose chose this one so I like okay we'll take that and then we break that down we really analyze it and we make sure all the shapes in the scene are kind of playing toward you know what that student wants to express and that sheet sometimes or in this case kind of looks like this so I drag their composition onto a new canvas just like we see here and I'm like okay same thing like we did before let's break down the most simple fundamental shapes in the scene in and see how things are gonna lay out how are they gonna play out down the road for us so see if we lower the found the opacity of this we can almost see one for one like alright that's how it's gonna happen so what I like to do in the most bold yeah you know in simplistic shapes that I that I can make I try to start dividing the composition up and make big you know gestural marks to figure out how we can lay these shapes out how can we overlay overlap them to increase depth and how can we create big medium small ones as well as those usually create the most interesting sort of contrast and you can see I just labeled that here right we have basically L right this is a this is a large shape in a scene I considered this one in this case this is a bit of a small one it's a it's a wedge and then this is a right that's a medium one and then they they kind of go on so on so forth from there right we have a few nice small ones in here accompanied by a few more you know medium and small again so it it's a nice rhythm and it's it's something that's you got to work from now basically from this when we look at it like that it we try to see things on strike ly you know how does this work so you could take those shapes and essentially you could plug any sort of information into them you want a snowy scene okay we'll make this at the snow you want to make this desert we can do desert anything we want we can we can adapt it to those shapes and as you can see like the second round would then go to something like this we copy and paste that layer we move down we start looking at the shapes again you know how can we start to transform this into a more literal sense for what you're you're trying to go for and we start adding and subtracting the shapes I mean okay right if I have a long vertical coming here it's like okay how do we act you know you race you know part of that line coming up into here so we can make that all right a unified shape for the grounder if this is intersecting this how can we you know basically make visual you know pictorial space make sense out of the shapes that we have and that's kind of that second pass and then again that will just get cleaned up and cleaned up and as you can see it's getting refined as that that process kind of goes forward until we have a very bold you know in simple dynamic composition with that now another way another approach to this at this student that is kind of already in that mindset where they're just abstractly thinking about shapes for their scene and we have this from Anna and is doing fantastic stuff she's doing this scene from Conan with some kind of bone and skeleton King and you know he's gonna be creeping in and there's light and it's ending like this dark encrypted too but she is already thinking abstract Lee she is already thinking just in terms of shapes she's thinking of large shapes medium shapes small shapes she's thinking about how these shapes can line up and you know directive URI it it's all very suggestive at this point and that's a fantastic foundation to kind of start and I think she ultimately is going with this one here but I start drawing over so I guess we'll see in an upcoming week or two how that's playing out but again there's many different ways to approach composition there's many ways to draw your scenes and there's many ways to focus on design and and that is something I like to practice regularly like myself so okay this is an example right where this this is what not to do so we can learn from this mistake here I'm not picking on you Mitzi this is this ultimately and this is from a little while ago and it ultimately kind of panned out really well for the student but this is an example maybe a couple painting sessions in and we get to it we break it down and we're like okay what what's going on right so I put again a piece of you know virtual tracing paper and we figure out the shapes and the shapes in the scene looks something like that so it's like okay but if there's certainly room for improvement we can work on the flow we can work on this storytelling in the narrative right now a huge part of the problem is that we have you know 1 2 3 we have the arch we have a great tree and we have basically a shrine at the base of the tree all major elements for my students storytelling are lined up in cluster cluster mashed right together we don't want that we want to give them a little space to breathe and we want to scatter them around to trickle in to give the viewer some play and to guide their eye in so my recommended course of action for this scene was to do something a bit more like this right we have a you know much much bolder sense we have all the elements we have the tree we have the shrine we have the archway so as I just highlight a few of these key Mart you know key marquee shapes here you can see how I was kind of thinking about this right my first move is always some kind of bold you know shaped like what's the ground or what's the horizon look like you know in this case it was you know this we're just gonna go like that and then of course I'm thinking about what's the next most important element in your scene well it's your great tree so I'm thinking right if we make a nice big shape kind of like this and this is how I first you know gestured it out right it very much see it's probably easier to go with actually a little lighter maybe not right but this this is how I was thinking about like so now we have that shape and this of course is under negative space right so the trees making up this nice pooping gesture and the thing is playing up the storytelling element we want to be looking up at the you know the majesticness of this tree the majesty of it so essentially we want to see underneath it and so that's what I kind of suggested at this lose shape kind of right here that I put in pink so essentially I was trying to show everything in this pink here would be under the umbrella of the tree we really look kind of up you know at that underneath it that'll be all in shadow so right we'd have we have the major right we have the the horizon we or the hill we have the tree itself you know and then of course what are the other major elements that we need for this scene it's that archway and it's that pathway up to the tree so what I did here I started breaking down I'll use a different I'll use a different color why not started breaking down a nice little path you know for that tree that basically you know kind of look you know something like this eventually that's gonna kind of go up to the shrine so essentially what we'll have here is that archway boom and of course we'll have that shrine at the base of the tree so now again if I shut this off we have all the major elements in the scene we have the storytelling we have the setting so now when I'm approaching composition design like this I now let everything else in the scene every line every shape every form dictate that storytelling and flow and essentially support that focal point right so this is a focal point that's a focal point and to some degree this is a focal point it's kind of got three of course having a hierarchy of them knowing what's the most important really comes in handy here but anyways like a and you can see when I kind of put the rest of the drawing in here together all right all these shapes no matter what they're doing they're kind of just supporting actors and in that scene there they're used just to kind of figure out things so well you know what is that negative space left on the horizon of the tree you know and how what kind of shape is the sky making right and so you know what does become that negative space and the whole scene well it's this and then it's ultimately going to be this shape so you know visually in pictorial space everything's a lot more impactful is very bold it's very dynamic and it's very direct and direct and focus and to kind of if you're at that level you just want to practice Compson to design that's what I do sometimes it's like let's forget everything else let's forget details let's forget lighting let's just focus on what that story moment is and what kind of shapes can we use to direct it so you know this is kind of another example I was showing a student you know if we want to create you know just this is what I do I practice drawing shapes and work on my comps using just the line they're the most basic tool that that we have and so I did a series of them you know just kind of drawing you know it's almost like Western theme I picked a theme that day it's like let's try it factus drawing my shapes and my storytelling in that sort of environment and here it's right it when in doubt like just simplify and try to make the shapes work so this one's this is no characters or anything in it this is just about this hill right here and that's fine everything in the scene you know this would be eventually be a desert right everything else is rocks it just comes about making these nice shapes so here's the sky what's left there is the clouds and that's how you kind of that first very step you want to look at things if you're struggling with composition if you're struggling with design if you're struggling with what you want to say in an image it all comes down to the shapes so eventually you know I don't know I'm painting this one now that maybe that's a teaser for later I'm working on it but if you guys want to practice this and you're not quite up to that level where you're designing your own scenes from scratch I can highlight this this awesome exercise that you can use you know today at any skill level to start help you so grab a piece of photo reference or maybe your own photography I go to map crunch comm I type in it is a random location generator like on Google Earth and so you can pan the camera angle around you can you can you can find your own camera so I find this shot right up here number one second pass is I try to design that scene I try to increase the sophistication of the shapes essentially what we're doing here is we're art directing reality which is a great practice for anyone so I'm working on the shapes I'm going to add a little car you know in the big I'm having a focalpoint I'm adding a storytelling moment to it and in that way from there the sky's the limit you could do whatever you want I did a very very quick value structure pass on that I would still lighten the whole background a bit and everything but you know it was done in two minutes and I've already kind of expressed what I need to with it or kind of find the path that I would go to polish this to a finish but anyways guys this is gonna bow wrap it up today let me know if you found this helpful let me know if you guys have other ideas for future episodes or things that I can kind of cover all right take care thanks for watching particularly if you made it to the end here if you'd like to support the channel please like share and comment you can find me on Facebook art station and Instagram now I share different content on each platform so feel free to stalk me across the web feel free to join the brush sauce community as linked below we do hangouts have a discord channel post challenges and support each other in artistic growth finally if you'd like to inquire about my one-on-one mentorship program head over to Tyler Edwin art comm click on the mentorship tab for information and shoot me an email also I run two courses at the computer graphics master academy feel free to check out those as well take care

9 Replies to “Draw Dynamic and Bold compositions”

  1. zetsuboushitaaa says:

    I noticed there's more focus on intermediate or near-intermediate work in this video. If we take this video as a measure, I'm more at the stage one currently – weak shape design. So… does anyone have any tips on how to get from "stage one" to intermediate? :^ )

    Edit: I feel as if it's not even really about "stages", more like… what are shapes, what's the definition? How do you pick a particular shape from a picture, like Tyler did in that virtual plein air study? What is the mental process behind it? Why that specific shape, and not the other? How are shapes related to the volume/form of an object? I feel greatly confused about this topic as a whole :v

  2. Elfriede Potter says:

    It's so amazing that you share content like this for free. I'm really glad I found your channel. Looking forward to more videos like this!

  3. The Sangson says:

    The mapcrunch site would be good as a link in the description, I think

  4. iris muddy says:

    super helpful!! thanks!!

  5. Albert Kiefer says:

    Great explanation Tyler. Exactly the kind of thing I am struggling with…

  6. Daria says:

    Thank you so much! I never thought of my composition in this way. I'm so glad I found your channel 😊

  7. WhoIsRobinson says:

    Your videos are awesome! , thank you

  8. Millian Avertis says:

    Extremely helpful. My next quarter is going to be focused on landscapes and compositional things. Thanks for sharing all this great content.

  9. samanae says:

    Thank you so much! I've been struggling with the mapcrunch virtual plein air for so much that I almost gave up on it. The end of this video adressed my current issue perfectly so thank you !!

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