How To Make Your Art More Interesting | QUICK ESSENTIALS

Summary

This video script explores the concept of 'difference' as a key element in creating compelling art. It discusses how engaging visual language can be achieved through variations in value, edges, direction, size, activity, and color temperature. The speaker uses examples from Studio Ghibli and personal art analysis to illustrate how to avoid repetition and make abstract decisions that enhance a painting's interest. Techniques like using Blender for 3D geometry and light source are shared to integrate with the painting process, emphasizing the importance of early abstract choices in creating a final engaging image.

Takeaways

• 👀 The human eye is naturally drawn to visual differences, which is a key element in creating compelling art.
• 🎨 Repetition in art is often perceived as boring, and varying elements such as value, edges, direction, size, activity, and color temperature can engage the viewer's attention.
• 🖌️ Studio Ghibli is praised for its use of visual differences, making ordinary scenes interesting through artistic techniques.
• 🧩 The concept of 'difference' can break the monotony of repetitive patterns and make a composition more dynamic.
• 🌈 Color theory plays a role in creating visual interest; even within a limited color palette, introducing slight variations can make a scene more engaging.
• 🏡 When painting from reference, it's important to analyze and enhance the inherent differences in the scene to create a more captivating image.
• 📐 The distribution of visual differences should be balanced throughout the artwork to avoid areas of overemphasis or neglect.
• 🌳 Nature can serve as an excellent reference for understanding how to naturally distribute differences in a composition.
• 🛠️ Tools like Blender can be used alongside traditional painting techniques to enhance the design process and add depth to the artwork.
• 🎨 Artistic style is subjective, but the fundamental principles of design apply universally, guiding the creation of engaging and balanced compositions.
• 📝 Making early abstract decisions about the differences in a composition can streamline the painting process and ensure that the final piece is visually rich and engaging.

Q & A

What is the main concept discussed in the video script?

The main concept discussed in the video script is the importance of 'difference' in creating compelling and engaging art. It emphasizes how varying elements such as value, edges, direction, size, level of activity, and color temperature can make a piece more interesting to the viewer.

Why does the script mention that our eyes crave difference?

The script mentions that our eyes crave difference because it is a fundamental aspect of what makes art compelling. When there is a noticeable contrast or variation in elements, it captures and holds the viewer's attention more effectively than repetitive or uniform visuals.

What are some examples of differences in painting fundamentals mentioned in the script?

The script provides several examples of differences in painting fundamentals, including differences in value (light vs dark), edges (hard vs soft), direction or flow, size, level of activity, and color temperature.

How does the script relate the concept of difference to the works of Studio Ghibli?

The script relates the concept of difference to the works of Studio Ghibli by stating that the artists at Studio Ghibli are masters at implementing difference in their art. They create engaging visuals by avoiding repetition and incorporating various differences in their compositions.

What is the issue with the initial student painting of the wall and path in the script?

The issue with the initial student painting of the wall and path is that it lacks the engaging differences that make art compelling. The wall has the same value and color from top to bottom, and the shapes are repetitive and similar in size, which results in a less interesting picture.

How does the script suggest improving the painting of the wall and path?

The script suggests improving the painting by introducing value and temperature differences, adding countervailing diagonals to break the repetitive pattern, and varying the size and shape of the elements on the wall to create more visual interest.

What is the significance of the blue-ish texture in the red wall painting?

The blue-ish texture in the red wall painting is significant because it provides a near-opposite hue to the dominant red, creating a visual contrast that adds interest. It demonstrates how a small amount of difference in color can make a big impact on the overall composition.

How does the script discuss the use of lines to distribute difference in a painting?

The script discusses the use of lines to distribute difference by pointing out that lines can carry visual interest from a more active area to a less active one. It uses the example of a Richard Schmid painting to illustrate how lines can help balance the distribution of difference in a composition.

What is the potential danger mentioned in the script regarding the use of horizontals and verticals?

The potential danger mentioned in the script regarding the use of horizontals and verticals is the risk of creating too much repetition, which can lead to a 'checkerboard' effect. This can make a painting less engaging and visually interesting.

How does the script describe the process of analyzing a photo reference for painting?

The script describes the process of analyzing a photo reference for painting by first identifying areas of lower and higher activity, then using quick thumbnail sketches to study the differences in shapes, values, and other elements. This analysis helps in making abstract decisions about how to incorporate differences into the final painting.

What role does the concept of difference play in the rendering process according to the script?

According to the script, the concept of difference plays a crucial role in the rendering process. Early abstract decisions about the differences in shapes, edges, value contrast, flow, and color temperature guide the artist through the rendering process, ensuring that the final image is engaging and visually interesting.

Outlines

00:00

🎨 The Power of Visual Difference in Art

This paragraph discusses the concept of 'difference' as a key element in creating compelling art. It starts with an uninteresting blank screen to illustrate how the human eye craves visual differences. The speaker uses the example of a white bunny to demonstrate how quickly the eye is drawn to something different. The paragraph then delves into various painting fundamentals that utilize difference, such as value contrast, edge variation, direction, size, activity level, and color temperature. The speaker emphasizes the importance of these differences in engaging the viewer's eye and making the artwork interesting. The analysis includes a comparison of a simple painting of a wall and path with a more engaging version that incorporates these differences. The paragraph concludes with a discussion of how to apply these principles when painting from photo references, using a snapshot as an example to show how to maximize visual differences for a more engaging painting.

05:02

🖌️ Implementing Abstract Differences in Art Composition

The second paragraph continues the discussion on the importance of abstract differences in art, focusing on the application of these concepts in the creative process. The speaker describes how they use abstract differences in shapes and lines to avoid creating a monotonous composition. They share their approach to analyzing a photograph, identifying areas of high and low activity, and planning the distribution of visual interest across the painting. The paragraph also touches on the use of 3D software, such as Blender, to help in the composition process by matching camera perspectives and assembling 3D geometry to inform the painting's abstract shapes. The speaker concludes by emphasizing the significance of early abstract decisions in carrying through the rendering process and creating an engaging final image, highlighting the integration of these decisions in the detailed elements of the painting, such as flowers and plants.

Keywords

💡Difference

In the context of the video, 'difference' refers to the visual contrast or variation within an artwork that captivates the viewer's attention. It is a fundamental concept for creating compelling art, as it prevents the artwork from being monotonous. The video discusses various forms of difference, such as value, edges, direction, size, activity level, and color temperature, all of which serve to engage the viewer's eye. For instance, the script mentions that the artists at Studio Ghibli are adept at using difference to make their scenes interesting.

💡Engagement

'Engagement' in the video script denotes the interaction between the viewer and the artwork, where the viewer's interest is piqued by the visual elements presented. The concept is closely tied to the idea of 'difference,' as differences in an artwork's elements draw the viewer's eye and maintain their attention. The script illustrates this with the example of a viewer's eyes being drawn to a 'cute white bunny' as a form of engaging difference.

💡Repetition

Repetition is presented as the opposite of 'difference' in the video. It is the recurrence of similar elements in an artwork, which can lead to a lack of interest due to its predictability. The script warns against excessive repetition, such as the uniform shapes and edges of the stones in the example, suggesting that it can make an artwork less dynamic and visually appealing.

💡Value

In the context of art, 'value' refers to the relative lightness or darkness of colors in an artwork, which contributes to the perception of depth and form. The script explains that a difference in value, such as light versus dark, can create visual interest and is a fundamental aspect of painting. The video uses the example of a wall painted with varying values and temperatures to demonstrate this concept.

💡Edges

Edges in the script refer to the boundaries of shapes within an artwork, which can be either 'hard' or 'soft'. The distinction between hard and soft edges is used to create visual interest and depth. The video points out that a difference in edges can make an artwork more engaging by breaking up areas of uniformity, as seen in the comparison between a plain wall and one with varied edges.

💡Direction or Flow

Direction or flow in the video script describes the way elements in an artwork are arranged or the path that the viewer's eye takes as it moves through the piece. A difference in direction or flow can create a sense of movement and guide the viewer's attention. The script uses the example of diagonal shadows from an off-screen tree to offset the more linear elements in a scene.

💡Size

Size in the context of the video refers to the relative dimensions of elements within an artwork. A difference in size can create a sense of hierarchy and focus, drawing the viewer's attention to certain areas. The script mentions that the wall in the example has shapes of similar size, suggesting that varying the size of elements could introduce more visual interest.

💡Activity Level

Activity level is a term used in the script to describe the amount of visual 'busyness' or detail in different parts of an artwork. A difference in activity level can create a contrast between areas of high detail and those of simplicity, which can be used to guide the viewer's focus. The video discusses analyzing a photo for differences in activity level to enhance the painting's composition.

💡Color Temperature

Color temperature in the script refers to the warmth or coolness of colors in an artwork, which can affect the mood and visual balance. A difference in color temperature can create contrast and harmony within a piece. The video uses the example of a wall with mostly red tones but includes a blue-ish area to show how color temperature differences can be used effectively.

💡Abstract

In the video, 'abstract' refers to the conceptual or theoretical considerations that an artist makes when planning an artwork, as opposed to the concrete, physical elements of the scene being painted. The script emphasizes the importance of designing abstract differences into a composition to make it visually interesting. The artist uses abstract thinking to plan the distribution of shapes, lines, and other elements before executing them in a painting.

💡Rendering

Rendering in the context of the video is the process of creating a detailed and realistic representation of an artwork. The script mentions that the early abstract decisions made by the artist carry through the rendering process, which involves adding details to shapes and lines that were initially conceptualized abstractly. This process transforms the abstract ideas into a tangible, engaging final image.

💡Composition

Composition is the arrangement of visual elements within an artwork to create a unified and aesthetically pleasing whole. The script discusses the importance of composition in distributing differences throughout an artwork to avoid areas of uniformity or excessive repetition. The artist uses composition to balance the differences and guide the viewer's eye through the piece.

💡Reference

Reference in the video script refers to the source material, such as a photograph or real-life scene, that an artist uses as a basis for creating an artwork. The artist in the video uses photo references to analyze and understand the abstract differences in a scene, which then inform their painting process. The script also mentions the importance of interpreting the reference in one's own style.

💡Style

Style in the context of the video is the unique way in which an artist presents their work, which can include the use of color, line, shape, and other visual elements. The script mentions that while the artist's chosen style may vary, the fundamental principles of design, such as the use of difference, apply universally. The artist discusses how they use color and shape to add engaging differences to their painting.

💡Blender

Blender, mentioned in the script, is a 3D computer graphics software used by the artist to assist in the creation of their artwork. The artist uses Blender to match the camera perspective of a photo reference and assemble 3D geometry and lighting to help with the composition and rendering process. This tool allows the artist to make informed abstract decisions that are then translated into the final painting.

Highlights

The importance of 'Difference' in creating compelling art by engaging the viewer's eye.

Repetition in art is generally boring, while differences capture attention.

Different painting fundamentals such as value, edges, direction, size, activity, and color temperature create visual interest.

Studio Ghibli's mastery in implementing differences in their art.

Transforming a plain wall and path into an interesting scene with value and temperature differences.

The concept of breaking repetitive patterns with countervailing diagonals.

The idea of consciously designing abstract differences in art.

Using photo references to maximize differences in a painting.

The challenge of balancing the distribution of differences in a composition.

Richard Schmid's technique of using lines to distribute visual interest.

Avoiding the creation of a checkerboard pattern in art to prevent visual monotony.

The process of abstract analysis before starting to paint to understand the utility of the reference.

Incorporating differences in shape, edge, value contrast, and flow to make an image engaging.

Using Blender, a 3D program, to assist in creating abstract shapes for a painting.

The significance of early abstract decisions in carrying through the rendering process.

Marco Bucci's approach to integrating Blender with traditional painting techniques.

The final image's engagement being rooted in early decisions about implementing differences.

The availability of a high-res version of the artwork for Patrons and additional art lessons.

Transcripts

You are looking at something totally uninteresting. A blank screen.

Some of you are looking to the left, others to the right,

Your eye is unengaged.

But ... NOW ...

instantly I've changed that.

And you just followed the cute white bunny there ...

And there, and there!

I'm following it too; we can't help it.

Our eyes just crave DIFFERENCE.

'Difference' is the secret of compelling art. Well, one of its secrets.

See, repetition is generally boring to look at.

The model you want to emulate looks something more like this.

The idea is that the differences engage your eye, and make it care about what it's looking at.

This concept can manifest in different painting fundamentals.

For example, a difference in value: light vs dark.

Here's a difference in edges: hard vs soft.

Here's a difference in direction or flow.

Here's a difference in size.

Here's a difference in level of activity.

And last but not least, a difference in color temperature.

In all of these examples, your eye can't help but notice the differences, and be engaged by them.

Looking at these in the abstract, like these examples here, is helpful because it gets us thinking about visual language.

The artists at Studio Ghibli are masters at implementing difference.

This shot (ignoring that little totem in the middle),

is largely comprised of a wall and a path.

Those items are not inherently interesting.

If I were to have painting this in my early student days, it probably would have looked something like that.

The physical subject matter is still readable, but the picture is less interesting.

The wall is the same value and color from top to bottom.

There's room for something like this: value and temperature difference.

The shapes on that wall are very checkerboard-like, in the sense that they're repetitive.

Perhaps adding in some countervailing diagonals could help throw off the scent there.

Also, that wall only has a few shapes on it.

They're all very similar in size too. There's lots of room for difference there.

How 'bout these stones? Again, too much of the same shape.

Even their outlines have equally hard edges.

Repetition is the antithesis of difference, and it's so easy to make too much of it!

Now, watch the sceen; the original painting's coming back ... there it is.

Look at these nice differences happening in the wall.

Color and value differences, and the texture adds shape differences.

Back to the color difference for a second. Most of those colors are derivations of red.

But I love what's going on in this area.

That little bit of texture has a blue-ish quality to it.

If we plot the average red of the wall here ... and we want something to look blue in that context,

you don't necessarily need to traverse this whole path.

This painting stops its journey to blue around here.

Which keeps the colors connected to red, but still offers enough difference for it to appear like a near-opposite hue!

All right, back to that wall. The shadows from an off-screen tree are designed as diagonals - offsetting the more linear stuff happening.

The cobblestones on the ground are all kinds of sizes.

And there are differences in edge, from hard to soft.

Remember that the idea of difference is abstract.

You are never ONLY painting a wall, or ONLY painting cobblestones.

You have to consciously design in those abstract differences that make something interesting.

I use this analysis all the time when painting from photo reference, too!

This is a snapshot I took, and I like the overall mood.

But if I'm going to spend hours doing a painting,

I want to maximize what I can get out of it in terms of these differences.

One thing I like about this photo is that there's lower activity in this section, and higher activity in this section.

I can study that difference in a quick - almost abstract - thumbnail here.

I'm using only the rectangle lasso tool and a few values.

There are more shapes, and more value contrast, where the focal point of the house is.

And less of those things in the foreground path.

And I think that would work, but I don't love how much space is given to the less active part.

I think I can implement those same differences, but in a condensed frame. More like this.

Now we are potentially running into another problem, where the distribution of difference is split in half.

This is actually quite easy to solve.

In this beautiful Richard Schmid painting, we can almost identify that same issue.

However, there are these lines that carry difference from the more interesting top half,

into the less interesting bottom half.

Imagine that weren't in the picture, and it looked like this.

Does it still read? Sure.

But...now you've got this big blank area.

Which, yes, still offers a difference against the more active area above it,

but it's TOO obvious now. Too "in your face."

These lines in the composition help distribute difference in a more pleasing way.

Speaking of lines, my snapshot here presents a potential danger in too much repetition between horizontals and verticals.

I will probably want to introduce differences there.

You have to be careful though, because if you wonk-out something structural - like a house - too much ...

it no longer looks like a viable living space.

So, I'll probably have to leave the house fairly linear.

The tree and its shadows, however, offer me lots of raw material to add difference to that checkerboard pattern.

It's probably worth doing an isolated study of, to get a sense for the different shapes, different directions, different values...

all of which are contained in that one area of the photograph.

And when I evaluate my own study here,

I'm looking for those abstract differences - shapes, for example -

to see if I'm understanding the utility of the reference.

So, whether it be from reference or from imagination, these are always the concepts I have in mind BEFORE setting out to paint.

Because I have an idea now about how I'm going to deal with these abstract differences,

it becomes possible to start rendering out one area!

I already know from my studies how many shapes need to go here and roughly how the lines go.

So I'm just gonna go for it!

And then later I can use the other areas of the composition to balance it accordingly.

In some parts of the photo, like here, how the tree casts shadows on the house,

I can pretty much reference that directly.

Because I really like how nature has already distributed those differences.

I am, of course, interpreting the reference in my own style.

Your chosen style doesn't matter, though.

The fundamentals of design lie underneath all that.

Some stylistic choices, however, are quite related.

For example, how I'm using color here.

The house in the photgraph is a light blue.

But I don't want the house in my painting to just be one color.

I want to wiggle that color around. You know, play with some related tones and maybe make it more engaging by adding difference.

All right, I've zoomed way out, and I'm trying to figure out how these lines go in the rest of the composition.

See, what I'm trying to avoid is subliminally creating a checkerboard.

You know, lines that cross at roughly the same angle.

I want to steer my painting away from that!

The house is checkerboard-y enough! I didn't want to redesign that too much for reasons I've already explained.

But, the driveway, the lawn, the wall, the garden ...

I will heavily redesign those to create difference against that house.

The abstract decision I'm arriving at is something that fans out more in the foreground,

differentiating from the more parallel lines at the house.

OK, remember the difference-in-shape study I did at the beginning?

The nice thing about figuring that out is that I can use any technique I want to actually execute it.

Here I've loaded up Blender - a 3D program.

I've matched the camera perspective to my painting,

and I'm roughly assembling that wall with actual 3D geometry and a 3D light source.

And it's key to note that the number of shapes I'm making is very influenced by my early study here.

And then, of course, once I have that render, I can composite it over the painting...

Get it sitting in there,

flatten the layers, and just continue working.

The footage you're seeing now was taken several hours later.

When all of my abstract shapes have become detailed things.

And I swear I'm not trying to be all "draw the rest of the owl" here!

This is actually the point of the video.

Those early abstract decisions you make, which can be done quickly,

are what carry you through the arduous rendering process, and make all of those hours amount to something.

So, like, right here when I'm adding in little flowers and plants,

I feel like I'm not JUST painting those things.

They're rooted in those early decisions as to what kind of differences I'm implementing in this picture.

Differences in shape, or edge, or value contrast, or flow,

color temperature...

Those are the things that make the final image engaging.

So, my Patrons will get a high-res version of this piece,

as well as more in-depth look at how I integrated Blender with my process!

Thanks for watching, folks! Subscribe to the channel for ongoing content.

You can find longer art lessons at www.marcobucciartstore.com

And I'll see ya in the next video :)