The Secret to Drawing Overwhelming Detail!
Summary
TLDRStephen Travis, conocido por sus meticulosos dibujos arquitectónicos, revela su técnica para capturar el efecto de los detalles en lugar de su exactitud. Expone cómo, a pesar de la complejidad de escenas como árboles o flores, logra representarlas de manera efectiva a través de tonos y líneas, enfocándose en la forma y sombras para crear profundidad y significado, más que en la detallada reproducción de cada objeto. Este enfoque no solo simplifica el proceso artístico sino que también permite a los espectadores apreciar la escena de manera más clara y sin ser abrumados por el detalle.
Takeaways
- 🎨 El detalle es la característica más comentada en los dibujos de Stephen Travis, y es también la parte que más disfruta al dibujar.
- 🖋️ Tras años de práctica, Stephen ha desarrollado técnicas para capturar el efecto del detalle en sus escenas arquitectónicas, a pesar de la complejidad inherente.
- 🌳 A pesar de incluir muchos detalles, Stephen simplifica elementos como los árboles, ya que es imposible representar con exactitud cada hoja o rama.
- 🏙️ En arquitectura, la perspectiva y la distancia hacen que algunos detalles se vuelvan demasiado pequeños para representar en escala de sketchbook.
- 🌺 Al dibujar un campo de flores, Stephen enfatiza la silueta y el efecto general antes de sumergirse en los detalles, lo que ayuda a evitar que la complejidad del dibujo sea abrumadora.
- 🔍 A menudo, los espectadores se sorprenden al acercarse al dibujo y darse cuenta de que los detalles no están realmente presentes, sino que simplemente parecen estarlo.
- ✏️ Stephen usa una técnica de dibujo que captura el efecto del detalle en lugar de su exactitud, lo que le permite manejar escenas complejas sin ser abrumado por la cantidad de detalles.
- 🏞️ Al dibujar, es importante enfocarse en los elementos que resaltan rápidamente y fácilmente para el ojo, permitiendo que el cerebro asocie significado de manera eficiente.
- 📏 Stephen utiliza el concepto de 'espacio negativo' para resaltar formas y sombras, en lugar de dibujar los objetos directamente, lo que ayuda a crear un efecto de profundidad y detalle.
- 🌟 Al dibujar patrones repetidos, lo importante es capturar la repetición y la simetría, más que los patrones individuales, lo que ayuda a mantener la coherencia visual en la obra.
- 🌿 Al dibujar naturaleza, como árboles o flores, es esencial capturar el efecto general de la luz y las formas, en lugar de intentar representar cada hoja o pétalo individualmente.
Q & A
¿Quién es Stephen Travis y qué le gusta hacer en sus dibujos?
-Stephen Travis es un artista conocido por los detalles que incluye en sus escenas arquitectónicas. Le gusta dibujar los detalles y es lo que más comentarios recibe, lo que le agrada porque es su parte favorita del proceso de dibujo.
¿Cuál es la técnica que Stephen ha desarrollado para capturar el efecto de los detalles en sus dibujos?
-Stephen ha desarrollado una técnica para capturar el efecto de los detalles en lugar de dibujar el detalle exacto. Utiliza tono y simplificación para representar escenas complejas sin abrumar al espectador con detalles imposibles de copiar con exactitud.
¿Por qué Stephen elige las escenas que dibuja según los detalles?
-Stephen elige las escenas para dibujar según los detalles porque disfruta dibujarlos y son una característica distintiva de su trabajo que recibe muchos comentarios positivos.
¿Cómo maneja Stephen la complejidad de un paisaje lleno de árboles o flores?
-Stephen maneja la complejidad de paisajes llenos de árboles o flores simplificando los detalles y enfocándose en el efecto general, utilizando tono y líneas para dar una sensación de profundidad y evitar que el detalle se vuelva abrumador.
¿Qué es lo que Stephen sugiere hacer para no abrumarse con la complejidad de un dibujo?
-Stephen sugiere enfocarse en un par de elementos reales y dibujarlos con detalle, utilizando áreas oscuras como un camino visual para que el ojo siga a través del dibujo, y variando la densidad de los detalles para evitar que el dibujo se vuelva un caos de líneas.
¿Cómo utiliza Stephen el concepto de 'espacio negativo' en sus dibujos?
-El 'espacio negativo' es un concepto que Stephen utiliza para dibujar las sombras y el espacio entre los objetos, en lugar de los objetos en sí. Esto ayuda a enfatizar las formas y a dar un sentido de profundidad a su dibujo.
¿Qué importancia tiene el tono en la técnica de dibujo de Stephen?
-El tono es importante en la técnica de Stephen porque le permite enfatizar las formas y dar una sensación de profundidad a su dibujo de una manera mucho más rápida que si solo utilizara líneas.
¿Cómo aborda Stephen la perspectiva en sus dibujos de arquitectura?
-Stephen asegura que los patrones y las formas en su dibujo se ajusten a la perspectiva correcta, reduciendo la cantidad de detalle a medida que se alejan, lo que ayuda a mantener la coherencia visual y la profundidad en su trabajo.
¿Qué consejo da Stephen sobre cómo manejar la simplificación de detalles en escenas complejas?
-Stephen aconseja enfocarse en el efecto general de la escena y no en el detalle exacto, simplificando los detalles y variando la densidad y el tono para evitar que el dibujo se vuelva abrumador o se pierda en un tangle de líneas.
¿Por qué Stephen recomienda dibujar los detalles más cercanos con más cuidado y detalle?
-Stephen recomienda dibujar los detalles más cercanos con más cuidado porque son los elementos que el ojo percibe con más claridad y detalle, lo que refleja la experiencia visual real.
¿Cómo Stephen aborda la representación de patrones repetidos en sus dibujos?
-Stephen enfatiza la repetición del patrón más que el patrón en sí, y ajusta la cantidad de detalle según la perspectiva y la distancia, reduciendo el detalle en áreas más alejadas para mantener la coherencia visual.
Outlines
🎨 Detalle en el arte de Stephen Travis
Stephen Travis se enfoca en el detalle en sus dibujos arquitectónicos, lo cual es el rasgo más comentado por los espectadores. Él disfruta representar el detalle y ha desarrollado técnicas para capturar su efecto, aunque admite que no es posible incluir todo el detalle con exactitud. Utiliza tono para simplificar y muestra cómo su técnica ha evolucionado para dibujar no el detalle real, sino su efecto, especialmente en escenas complejas como la arquitectura de París o en el interior de un bosque.
🌼 Dibujar un enredo de flores de campo
Travis describe su enfoque para dibujar un enredo de flores, enfatizando la importancia de hacer que algunas flores sean fácilmente reconocibles y destacadas para que el espectador pueda entender rápidamente lo que está viendo. Utiliza sombras y contornos para dar forma y profundidad a la escena, y explica cómo maneja la complejidad al dibujar una tangle de flores, enfocándose en detalles específicos y utilizando áreas oscuras para guiar la visión a través del dibujo.
🖌️ Técnicas de dibujo para capturar el efecto del detalle
Stephen comparte técnicas específicas para dibujar el efecto de los detalles en lugar de su exactitud, como el uso de tono y la variación de la presión del lapiz para crear líneas más ligeras o oscuras. Explica la importancia de la silueta y el tamaño de los objetos en la creación de una escena con profundidad, y cómo reducir detalles a medida que se va hacia el fondo para mantener la perspectiva y la claridad en el dibujo.
🏛 Capturando la arquitectura con detalles efectivos
Travis habla sobre cómo aborda la representación de detalles arquitectónicos complejos, enfocándose en el efecto inmediato y no en los patrones específicos. Usa el concepto de espacio negativo para destacar formas y utiliza la repetición de patrones y la simetría para mantener la coherencia visual en su dibujo. Destaca la importancia de mantener la perspectiva y reducir detalles en áreas más alejadas para reflejar la profundidad y la escala.
🌳 Aplicación de principios de dibujo en escenas complejas
Stephen reflexiona sobre cómo los principios de dibujo del efecto en lugar de la exactitud del detalle se aplican a diferentes escenas y sujetos. Resalta la importancia de ser consciente de la profundidad y del plano en la simplificación de detalles, y cómo la percepción humana tiende a enfocarse en áreas específicas de un dibujo. Alentó a los espectadores a experimentar con estos principios en sus propios dibujos y a disfrutar del proceso creativo.
Mindmap
Keywords
💡Dibujo detallado
💡Técnica de dibujo
💡Arquitectura
💡Efecto de los detalles
💡Simplificación
💡Tonalidad
💡Perspectiva
💡Símbolo negativo
💡Dibujo gestual
💡Flujo de líneas
💡Simetría
Highlights
Stephen Travis is renowned for the detail in his architectural drawings, which is the most commented-on aspect of his work.
Travis enjoys capturing detail, and it's a significant reason why he chooses certain scenes to draw.
A technique developed by Travis over the years allows him to capture the effect of detail, rather than the exact detail itself.
In nature, such as trees, there is an overwhelming amount of detail that cannot be captured with complete accuracy.
Travis uses tone to provide shortcuts in representing detail, especially in complex scenes like architectural backgrounds.
His favorite subject, the ornate architecture of Paris, exemplifies the challenge of drawing richly decorated buildings.
Travis often receives comments about how his drawings appear detailed even when zoomed in, though the exact detail is not present.
He emphasizes drawing the effect of detail by using techniques that convey the impression of complexity.
Travis demonstrates his technique using a tangle of field flowers, a scene that can be overwhelming with line drawing.
He explains the importance of starting with clear, recognizable elements to make a complex scene understandable.
Travis discusses the use of silhouette and negative space to emphasize the shapes of individual blooms in a drawing.
He highlights the need to create visual pathways through a drawing to avoid an overwhelming tangle of lines.
Travis explains how varying line weight and speed can create different tones and effects in a drawing.
He emphasizes the importance of maintaining focus on the overall effect rather than getting lost in the details.
Travis provides principles for drawing effective detail, such as capturing the at-a-glance effect and using shadow to define form.
He discusses the significance of pattern repetition and how it can be more dominant than the actual pattern itself.
Travis explains how to draw symmetrical elements effectively by capturing the flow of lines and maintaining consistency.
He stresses the importance of perspective and reducing detail as elements move further away in a drawing.
Travis concludes by encouraging viewers to try his principle of drawing the effect of what they see, not the exactness of detail.
Transcripts
g'day I'm Stephen Travis if my drawings
are known for anything it's probably the
detail that I include in my
architectural scenes it's the one
characteristic of them that I get the
most comments about which always pleases
me because drawing the detail is the
part I enjoy most about the scenes that
I draw in fact it's usually why I choose
the scenes to draw that I draw and what
I've worked out is that part of the
reason for the way the drawings turn out
is the technique that I've developed
over a number of years to capture the
effect of the detail
because the truth is regardless of how
much detail I actually include in my
scenes there is simply way too much
detail to capture with any exactness
in something such as a tree there are
clearly simplifications that have to be
made although using tone does provide
some shortcuts but with architecture
stretching back into the distance photos
capture an amount of detail that it's
just impossible to copy with any
exactness
particularly when we have scenes that
stretch right into the background
there's an incredible amount of detail
that actually becomes impossibly too
small to draw on any Sketchbook scale
paper
and particularly if the architecture
that we're attracted to drawing is as
rich in decoration as the architecture
of Paris is which as you probably know
is my favorite subject but one comment
that I have also had frequently which
comes from those who I suppose enjoy the
drawing so much that they zoom in
closely to it I have a closer look to
see exactly how have I drawn all this
detail how have I captured really The
Impossible
and what they say I think to their
surprise but not mine is but when I zoom
in and look closely at the detail it's
not there it just looks like it's there
and as I've thought about my technique I
realized that what I'm doing is I'm
drawing the effect of the detail I'm not
drawing the actual detail and while I
started doing this with the rich
ornamentation of the Interior
architecture of Paris
I realized in fact that this was the
technique I'd been using for a long time
both painting and drawing trees whether
it was the leaves
all the branches
because trees present an impossible
amount of detail and it can quite easily
become overwhelming which I think is why
artists often find trees so difficult to
draw because it's just impossible to
draw an exactness of the detail
and this is where I think I began to
develop my technique of drawing the
effect of the detail not the exactness
of it so I want to look in some detail
with this technique and demonstrate how
I use it how I think when I'm drawing
and how I develop it on the paper but
rather than using architecture or a tree
because I have a number of videos on
drawing trees I have a video playlist on
drawing trees if you're interested
because both for drawing trees and for a
demonstration of this technique I think
they work quite well but for this video
we're going to look at another
impossibly complex scene and that's a
tangle of field flowers where we have a
massive blooms we have a massive stalks
and leaves and Buds and it's the sort of
scene that can easily overwhelm if we're
drawing with a line so how do I draw the
effect of this detail let me demo with
drawing this scene now the drawing takes
me 30 minutes to draw and I use a 0.3
millimeter pen for the whole drawing at
the end I'm just going to draw some
summary points using my drawing of this
as the focus and while I appreciate that
many people watching YouTube videos
don't make it to the end can I say this
is one video that if you don't want to
watch the whole drawing which will be
sped up and listen to the commentary at
least zip to the end and hear what I
have to say to bring all these points
together on how I
draw the effective detail rather than
the actual detail
but let's go back to our field flowers
and start drawing
so apologies I forgot to turn the camera
on when I started drawing but
fortunately I hadn't got very far but
you'll see that what I've started with
is drawing some of the closest blooms
and this is a really important principle
what we need to do is make it really
easy for people looking at a fairly
complex scene to know what's happening
to know what's going on to know what
they're looking at and so because this
is a scene of flowers and part of the
effect overall is that it's going to be
a tangle because we're trying to
represent a tangle of flowers
a full scene of Just Flowers we still
want it to be easy for people even
though there's going to be so many lines
to still be able to recognize straight
away what they're looking at and the
best way to do this is to make sure that
we have a few of the object in this case
flowers really easy to see and really
easy to make out what they are so that
means a reasonable size and without a
great deal of confusion around them now
in this case there are some parts of the
drawing some parts of the scene of the
the reference where there's darker
Shadows behind which actually come up as
black where there's no foliage or Leaf
directly behind some parts
and so they're in Shadow
and where they are behind a flower
then the silhouette of that flower is
brought into relief and that's a great
opportunity to use this to really
highlight the shape of some individual
blooms and while I get this thought from
my reference this is the sort of detail
that I'm quite happy to manipulate in my
actual drawing
to make sure that I have enough blooms
with enough Blackness around the edges
to really throw them into a nice
silhouette to make really clear at a
glance
that this is a scene about flowers
whatever's in this tangle there are
flowers here
the other thing that's important to help
establish what we're looking at when
it's very complex and it's a mess is or
not a mess but it's very complex a
tangle is the silhouette is the edges
and that's going to be in this drawing
case both the Silhouettes of actual
details of this which is the flowers the
petals but it's also in some cases the
stems
but also the silhouette of not
individual blooms but of the whole inner
way of the whole scene in a way and
we're going to do that at the end with
what we see at the very top the furthest
flowers that we see in this drawing so
that silhouette's going to be very
important too because what we're trying
to do is we're trying to give the eyes
of the Observer some details that stand
out really quickly and really easily
that the brain will also then find it
really easy to attach meaning to
and in that way the complexity of the
line work of the detail won't be
overwhelming
that's what I'm trying to do at this
point
now in practice
the challenge is for me not to get
overwhelmed with my tangle in some ways
drawing the individual blooms is easier
than drawing the tangle but with the
individual blooms it's really important
that I focus carefully on a few actual
blooms
and make an effort to draw them in
detail
that I don't just draw a cartoon Daisy
that I realize that some of these
flowers I'm looking at more face down
than side on and a few I'm even looking
at slightly from underneath it simply
depends how their stems are bending now
generally they're all looking about the
same because they are tracking the sun
which is in the same place but within
that there are different tilts and
variations of how they're facing the Sun
so it's important that I capture the
fact that
some petals I see almost straight on
because they're curving up from behind
and some petals I see almost Edge on
because they're coming at me from the
side almost Edge on
now you can see what I'm doing here in
that I'm establishing the flowers
and some stems and then I'm putting in
some buds these are Cosmos it's actually
not in a field it's in our front yard
I've planted a tangle of them to hide an
area where I need to do some Landscaping
but haven't had a chance yet so these
are just making a colorful alternative
to dirt and weeds
but I'm drawing the flowers and the buds
and some stalks
and then I have to put the tangle in
between now this this will be the
challenge now I am using these darker
shadowed areas as a way of providing if
you like a pathway for the eyes to
follow through the tangle now because
it's not an actual pathway but it's in a
way it's a visual pathway it provides
some areas of Separation so that the
whole thing isn't overwhelming
and then it also lets me just get a few
more edges
but in less detail as as I go further up
these shadowed areas I'm not filling
them in with as many lines so that
there's a little more white showing
through
which has a grayish effect rather than a
black effect and this is part of the
creation of a sense of depth because
darker tonal values come forward in a
scene and lighter tonal values sit back
so this is also trying to suggest that
these
parts now are further back than the
parts lowered down which are darker
which are blacker and the same thing
with the size obviously the flowers that
I draw but when I'm drawing up here now
in the top half of my flowers I'm trying
to draw with a lighter line I'm still
using my 0.3 millimeter pen
but I'm holding it lightly my lines are
lighter my actual shape work is more
gestural
and I'm trying to get a thinner line now
I often would switch to a lighter pen at
this point a 0.2 millimeter pin and then
possibly even a 0.1 millimeter pen for
the furthest Parts but for this demo I
wanted to show that we can still create
effect even if we just have the one pen
that one of the skills we want to
develop with our line work is to use a
pen with various degrees of heaviness of
of a strength of pressing on the paper
and not just that but it's also the
speed on the paper the ink flows while
the nib is on the paper so if the nib is
moving quickly across the paper it's
actually in contact with any one bit of
paper for less time and therefore we can
get a lighter line and a thinner line as
well
so I'm I'm getting kind of basically the
overall massive tangle of undergrowth
here done and now I'm working on this
silhouette edge up the top as I told you
about one of the difficult things about
doing something such as this where if
you're like it's a random spread of
forms is to try and keep it random and
to not end up filling every Gap equally
and losing the spaces in between it's so
easy to do that and in my experience if
I do this sort of thing and just start
thinking of other things while I'm doing
it invariably I'll finish and there'll
be no gaps left I've actually filled
them all in with something or I've
put too much tone equally
all over the paper so so it is important
to be still focused on what's the
overall effect a few times I stood back
a little bit or I stood up at least and
I looked down to just get a sense of
where this wandering line of Shadow was
going
what the overall impact was were there
any parts that were still too much of a
kind of a gray tangle of lines because
all of these lines that I'm drawing
in effect it's almost like I'm hatching
the entire scene
and so they have a tonal effect and so I
don't want them all to
um to create the same if you like mid
gray tonal value I still want some parts
to be lighter some parts to be really
dark and some parts to be in between so
this is also how we create a sense of
Distinction so we're not overwhelmed
with the tangle by creating tonal
variations in form
with our lines
and yet this is in effect even in life a
series of lines the stalks are lines the
leaves in this case are really very uh
needle-like lines and the petals are the
closest thing we get to something that's
not a line and so it's it's all very
jagged
so here we have our tangle of flowers
trying to draw the effect
rather than the actual detail but I just
want to outline a few principles of
drawing the effective detail rather than
the exact detail and to use an
architectural scene
which does offer some possibilities of
examples that our flowers don't when I
first look at a complex reference my
first thought as I plan how I'm going to
represent some details some decoration
is what is the effect what's the at a
glance
effect of what I see not what is the
shape not what is the pattern
but it's an at a glance what are the
things that stand out and how do they
stand out why do they stand out and the
answer is often they stand out through
Shadow rather than through the actual
form in palagana where this scene is in
Paris we have these supports for this
overhanging balcony and it's the Shadows
that the supports cast which is the
primary thing about them it's the thing
we actually notice that's the way I draw
them primarily is through the shadows
and this is called negative space where
we don't draw things by the if you like
the outside form but in effect we draw
the space between things and when we
have something such as this or such as
this pattern here where we have a
detailed repetitive pattern in my
experience is the fact that the pattern
is repeated is more dominant than the
actual pattern and when we have a
pattern such as this which actually has
a fairly extra extreme perspective
impact in it the shapes of these circles
change as they move down one side and
down the other and the shape of these
swirling swags is also affected it's
capturing the fact that there is a
pattern that's a circular base pattern
with some sort of swirly thing
connecting each of the rounded patterns
is the important thing and making sure
that the pattern that I draw fits the
perspective that's more important than
the actual pattern and the other thing
is to draw whatever pattern I draw to
represent the more detail pattern is to
have it in more detail closer than
further away if that pattern is in fact
repeated and this pattern here on the
underside of this Arch is the same
pattern that we find here and the same
pattern that we find here and the same
pattern that we find up there
and can I say up here
the pattern this pattern has been
reduced to this and so it certainly is
drawing the effect of the detail not the
actual detail and yet because the eye is
seen this it carries this the Mind
carries this here and here and here and
we see a detail up here that I haven't
actually drawn another thing that I
think is important if we want to capture
the effective detail is where things are
symmetrical capturing the Symmetry is
more important again than the actual
decoration capturing the flow of lines
of a curving curling pattern is more
important than the actual pattern and so
here along the back here we have these
rounded Medallion type shapes and
there's all sorts of ornate swirly
scrolly acanthasy
and even I think cherubs
um on each side and they're all
symmetrical and the important thing is I
capture in some way that what's
happening is repeated and it's
symmetrical
and so when I'm doing this I will tend
to do all of them across one after the
other so that my line work is in the
same Groove
that the older I do the things and the
the swirls the lines the arm movements I
use are the same because I want them all
as much as possible to look the same
and now when we have this section come
up here firstly the important thing is
to keep the perspective correct so I'm
looking straight on here but this wall
is angled away so it's foreshortened
significantly and it increases in size
as it moves closer to us and these
circles become ellipses
but this ellipse is rounder than this
ellipse and the amount of detail I can
show here is actually a lot more than I
can show there or there or there or
there and so what I need to do is
whatever detail I show here I reduce it
as I move further away which of course
saves a lot of time but also I'm just
actually not going to have the space
here to put the detail that I've put
here as reduced as that detail is a good
thing about using tone is that I can use
tonal value to emphasize form in a way
that is much faster than if I were just
using line another important technique
is to draw the closest detail as
carefully as I can for the time I want
to draw and in as much detail as
possible so you'll see that the tops of
these columns and the in tablature
supporting the arch is actually in a
fair bit of detail and is in a high for
one of my drawings a high state of
accuracy because even though we're
actually looking straight through even
though our eyes go firstly to the center
and to the brightest lightest areas
which is here on the far side of the
stairway and this in effect becomes a
fancy frame for the view in life these
are the parts we're still going to see
most clearly in most detail if we
actually look at these rather than in
the center and so we want them to
reflect that fact as well even so though
there is simplification here and here
with what's actually happening in real
life but being aware of depth of plane
is also an important factor when we're
simplifying detail and drawing detail to
capture the effect rather than the
exactness because the camera captures an
alarming amount of detail but in life
when we look at a complex scene where
still only seen a certain part at once
we don't see the whole thing at once and
usually the thing we're looking at is in
the most detail because it's usually the
closest thing that's not the case in
this drawing but the principles are the
same the exact way the principle draw
the effect of what I see not the detail
not the exactness of what I see how that
works out in practice does depend on
every single scene on what the subject
is and what the lighting is of how large
I'm drawing it what the scale is what
size pen I'm using how much time I have
how gestural overall it's going to be
and so forth but if I know some of these
principles some of these if you like
technique so how I can draw the effect
and I always end up coming back to the
tree and the leaves I can't possibly
draw all the leaves so I need to draw
the overall effect of the light on the
trees the in effect surface that's
created by all these individual objects
if I know some principles as to how I
can do that then I can seek to apply
them to whatever particular example I
have in front of me g'day I'm Stephen
Travis if you've made it till now I hope
you feel it was worth it and I hope you
give this principle of drawing the
effect of what we see not an exactness
of the detail a go in a drawing soon and
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fun I'll see you next time bye
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