So - damn - important Easier said than done though - it really takes a ton of focus and planning Again, thank you.
3 роки тому+118
There is a scientific explanation of why composition works in this way. Our field of view can only focus on only one thing at a time, defocusing the rest. We center in that thing for better understanding of it, then we shift to the next. The process is agile and almost authomatic. When an image presents a composition that uses this same process: Main point of focus and decreasing contrasts all around, it instantly reads as natural and somehow familiar. We completely identify with this way of arranging shapes because thats how we understand the world.
I would not call it scientific at all since science is just a religion and then that explanation is just a religious one. Its an explanation which works, because it is a realistic approach.
3 роки тому+22
@@Yatukih_001 Science is not a religion since its based on a method and experimentation. Its the only way we have to approach an understanding of how the world works. Of course its not an ultimate truth since the method can always be bettered and theories debunked. On the other hand religion is based on faith, belief, myth, tales, parables. Two different things. The explanation I gave works for abstract art, graphic design, typography, movies, anything involving visuals. Of course you still can make art and not follow it, it always depends on your objectives.
@ This comment is a year old but i might guess maybe they meant it's more cultural? You don't read traditional Chinese paintings the same way we do western paintings for example. While there is a scientific backing, it ultimately falls on our cultural preconditioning.
Рік тому
@@transientimages There is a cultural aspect and a biological (scientific) aspect to image reading. They both work simultaneously. When we see images we see value contrast, shape contrast, contours. Greater relationships of contrast attract attention. This is the biological aspect of perception, everyone regardless of culture or race sees this stuff. Objective. At the same time an image transmits cultural related symbols through its shapes (What do these shapes bring to your mind? what do they resemble?). These symbols differ from culture to culture and even from person to person. Subjective. Chinese might culturally read in different directions or assign specific symbols to colors that arent the same as occidental symbols. But still the biology of their brains and eyes is the same as every other human being.
I thought the problem with movie sequels is that the original movie usually started with a writer with an idea they want to share, while the sequel started with a producer that would like to repeat the profits he got from the original idea.
When you talked about "deciding on one thing" it really reminded me of the mashup artworks by Patrick Brown. He embraces the chaos and makes it the focus of the artwork. Every element is designed to make you look at everything else more carefully and scan through the artwork. Every character is drawing attention and then lending that attention to something else on the canvas. Really interesting video and definitely something I'm gonna have to chew through a few times before I really grasp it.
Only videos from this channel remind me that i loved drawing before the six-month-artblock started. So i keep trying to love this shit again, thank you
Boro is one of the most important art youtubers out there fr like i never EVER see anyone talking about the absurdly important stuff he does ! Love u boro!
(I'm writing this before hearing what you have to say) I've been thinking about this myself and the answer is obvious. I can NAIL a landscape speed painting that I do freely, inspired, with a clear goal, no restraints and no client to satisfy. But when I do a commission where I have to have a specific character, in specific armor, in a specific landscape, where I need to do my best to make the client feel like they paid for something special, btw I work with private clients who are more personally involved, then there's a lot more that can go wrong, I might not NAIL all the specific details, in this clearly more challenging task. And while I am proud of my big paintings, yeah, clearly those simpler, smaller paintings are easier to get right.
Hey Boro. That is a very good Point. I really often made the same mistake and this kinda opened my Eyes a bit. Extremely important rule, that can save you much work and disappointment.
Man, I love it when you examine the really important stuff. So many technical tutorials without soul out there... In this case, thinking in terms of "story" can help...
Maybe I'm very weird, but I find I have a lot of trouble painting or drawing anything for myself. The lack of deadline is one factor, obviously, but it's also the fact that when I do, there's so much wrapped up in pleasing MYSELF, in making something that shows ME what I can do, or proving to myself that I can do this or that, and it gets overwhelming. It gets too big and too insurmountable and there's no stopping point because I'll never be satisfied with myself. But it's so much easier to do characters or paintings for clients, because...I have that set goal. I don't have to impress myself or top myself or do something crazy or new or groundbreaking, I just need to get the client to say "That's what I wanted.", and that's good enough. I don't have to worry about exceeding their expectations by miles or blowing them away with something more than they paid for, I just have to deliver something that satisfies their needs. And that is so much less pressure, because I can just send a draft and get that immediate feedback that tells me where to push, and when to stop and call it done. The kind of feedback I can't get from myself. So yeah. I'm never happy with my own paintings, but I'm generally more satisfied with client work, because I can look at it and say "I finished that, and it looks nice and people like it".
I think about exact same thing all the time because I cannot keep myself from shifting to "show everything I'm capable of". But the best things I did was the things have the essence and essence only. Love you man, great videos...
This mindset and approach really makes everything easier and less "scary" lol, thank you so much for sharing this! On a side note, I had an idea on your Infinite Ikea painting and wanted to know your thoughts on it, what if all the employees were looking at the camera? Even adding more of them peeking at "you" from behind walls? It would make it really eerie and theatening, moreso cause they don't have any expressions and they have all this uncanny anatomical proportions. I would love to read your opinion on why it would be a good or bad idea to add this, great video btw!
I come away from every single one of your videos with something rock solid. The Simon Stalenhag reference was a wonderful cherry on top. Reminds me of what you've said about focusing on one thing, theme or "universe of characters". And Simon's work is an example of unbound creativity that all kind of exists in the same channel. SICK
i felt like my art has been stagnating for a long while now especially for character art, the only time I feel confident and encouraged to do them is when i’m joining somebody else’s dtiys and drawing their ocs. This video really gave me incredible insights to this problem, I literally felt myself nodding the entire 10 mins in. I’ll definitely use the tips and directions you suggested to see how my art can develop. Thankyou so much!!
completely agree with this! All of my larger pieces get bogged down with overcomplexity to the detriment of the core concept. It's tough to reign it in sometimes but simplicity nearly always improves things
Boro, our shared love for Simons work has brought me to wonder something. How does he paint his long grass? It looks fantastic. Also i agree with you about the ikea piece. It has enough in it and other people would seriously take away some of the threat they pose to the viewer. If the building would be larger, it would take away from the uncanniness. Right now at first look it's just an ikea, and then the weirdness sneaks up on you. I also don't know if the characters need to or even should overlap. They don't have eyes, so the way they stand right on a direct line of sight to the viewer is like making this weird feeling of them staring. Like they would know where to stand to have a direct line of sight. Would have to see them overlapping to know if it impacts this sense of threat they emit. Only thing I think that needs something on that piece is the floor or the man on the right. Not both, just one or the other. But i have a weird sense of balance so take that as you will. I like all of your SCP work. It always feels so accurate.
Something I like to do is spend a lot of time on composition, not just play elements. But being a bag or not is very suggestive, I don't think I can pinpoint what works and what doesn't. In your case, something more Stalenhåg and Stefan Koidl, it's the best thing, photorealistic art and compositions that tell a small narrative, but I really like your way of composing this one about the woman floating with white creatures I think it's sensational, in addition to the SCP paintings your reading of the SCPs is more "illustrative" that you don't even need the text of scp foundation.
Thank you for this! I struggle a lot also with fitting certain poses comfortably within a canvas without making it absolutely massive and drowning out the character?
Just wanted to say thank you for all the content you are creating, as I learned so much from this. I have more of the metaphysical, as I call them guides in mind. Like your video focusing on shape design for example. I never finished any art school so it is hard to find this kind of information as people tend to focus on more technical stuff. I started taking notice of all the knowledge you shared and it helped my workflow enormously. Cutting down the time I spend on each part of the process and making everything more clear and "natural". Hard to describe all these, almost ethereal like concepts but once again, thank you.
In traditional art school we get taught not to be "precious" with our artworks. One of my drawing class told us to get our best piece of artwork (drawing or painting) and to rip it up and shred it to pieces. Its away to get us out of the habit of being afraid of making changes in our artworks or trying to do everything at once. I wanted to cry but it was a good lesson to learn, you will always be able to make a better artwork.
I love this channel because it is boro is teaching through this Kind of learning journal. He is Not like this grandmaster of Art we will never be able to be, but rather someone showing us the progress of improvement. Very motivating
How people can dislike this stuff... this is a open minded topic, it's not said without a reason that LESS is MORE. Thanks Boro, this will for sure make me more confident in making decisions about design.
Love your art and love your analysis. This feels like a pretty good companion piece to your shape design video. edit: i think there is a ton of stuff to mine on this idea, like the idea of making this perfect thematic painting vs like a frame out of a long movie or story or something. I think people who paint tend to favor the former, but perhaps people with a live action, film or animation background might be ok with the latter.
I don't know If that is always the best way possible to make it cause each human being sees it very personally and what is considered good for ones are not always good for others, even when these ones are a majority, without some context it is hard to say what it's ideal. It also can change through the ages, at some point in the history, a good art was that one who imitates nature as real as possible. Professionals making their personal work are a whole other story than professionals making client work... and also, we tend to relate "the best works" with our own tastes so there are such a number of variables. But, nice video as always! Thanks!
This reminds me of my a level final composition- in which my teacher forced me to ‘investigate’ and ‘plan’ the final piece for TWO YEARS. TWO. YEARS. In the end the final composition was horrible, confusing and above all ; sloppy. I got so tired of painting all the separate elements over and over again that when it came to the final bit I just wanted it to end. At the beginning of the course all of my work I was proud of and will be submitting for my portfolio- and Im even submitting my GCSE painting for the V&A! But this final massive painting that I spent years planning- I would throw into the flames in any circumstances if only I didn’t want to keep it as evidence of the torture my teacher put me through. Lesson; complication happens when you push it too far, wherein you leave nothing to spontaneity and your own mystery (what I think is the best part of art itself) Lowkey a vent but dude I love everything you’re saying and I wish I could’ve shown this to my teacher so she wouldn’t keep up her reputation of ruining the lives of promising artists :)
I genuinely think the A Level and GCSE art teachings that I recieved were not only largely useless and underdeveloped but were actively damaging to my creativity and development. Sorry you went through this, A Level art really sucked all the joy out of art for me so I can sympathise.
Every time I think about a painting that I want to do and I don't immediately start painting, I just get stuck in development and nothing I do lives up to the Ideas I had.... so they go into the Idea shredder
Yeah, I always thinking why others art are simple but also attractive and looks so smooth compare to my art that looks so crisp and have a lot of details.
Просто хотел сказать, что картина с ангелом моя самая любимая из твоего творчества. И особенно ролики создания картины, шаг за шагом, полировка, финализация - всё это. Периодически пересматриваю ставя фоном)
I think the biggest mistake for blackwidow piece is your value pattern. It would be probably better with a low-key values(like your underwater painting at 6:27) since it's a dark scene. Composition and storytelling are totally fine, but this giant highlight and light values looks off for this type of narration. Like you say, Piotr do it very well. Anyway, Nice video mate!
Unrelated, but I think I know only one movie where the sequel is better then the first one: Captain America: Winter soldier. They should just make the first movies really bad so everyone can enjoy the second one more XD
Over a decade ago, I wanted to make a portrait of Bertrand Russel. It was going to be a big portrait. The choice was made not to make it too big. So first, the canvas was bought. An old unfinished picture was over painted. Then, one tiny photo was used as a reference. Only one. Only one subject. When visitors came to see the picture, they noticed that any proportion which was wrong had to be removed. So that was removed. As the subject started to become more natural looking, it was decided to place it nearer to the center but not too close. Only two colors are currently being used to create the base. Failed artists rely on things like too many colors because they have not sought advise from people who have been to academic courses describing how these things are done correctly.They rely on the exact same idea as vaccine manufacturers did by hiding their failures in plain sight. Thanks for the video!
I've lost all interest painting big/detailed things now that pretty much all of my audience is looking at my work through a viewfinder the size of their palm >.
You lost your interest because nobody told you that the Great Old Masters relied on the same ideas as modern day computer programmers do when creating paintings. When the first computers, the first monitors and things like that were being created they were not shown to people in the early decades of the twentieth century. The people who made them selected the most productive people to analyze them, so they could tell them if these worked.
Hi Boro. I recently started following you here. I'm interested to see where you go now, with this revelation. On account of SCP3008... I don't especially get the feeling that they are hostile, more that they are just wandering. I think some movement of their arms is needed. Have you ever thought about writing a szenario first and then drawing it?
....it needs a resting point...to me, your eye's go everywhere.Tip ; take a look at photography and her Tech aspects. [ self coming from hobby photography to drawing / painting things has helps me a lot to understand tings as they are.]
I would love to hear your opinion on what you consider to be "cheating" when it comes to creating artworks. I know that many artists, including myself, have had that question once or twice hanging around the back of our heads. (For example, tracing 3d models/irl pictures, using filters, fancy brushes etc.)
I have to say that I don't agree with the point that more focused paintings are better. I'm a big fan of artwork that tells a broad story in foreground and background. I think theres a sense of over education in art where almost mathematical concepts of framing, focus and composition dictate too much the expression of an artist rather than guide the learnings of an inexperienced one.
I can't say you're wrong. A simpler idea is much more eye catching. There are definitely classical painters who don't have a strong main visual idea going on in their paintings. With your IKEA painting, some atmospheric perspective may have helped. But then again, graphic design can completely throw out certain "rules" and still work.
1:23 took me a moment to realize these were torsos Also, when you mention proper nouns, like artists' names, please put them in writing. Either directly in the video or in the description.
The way I think about making big painting is "Don't make a big painting, instead improve your skills to the point where the "big" painting becomes a regular one, and only then paint it"
So K.I.S.S. Keep It Simple Stupid...which means to me. Don't overdue everything. Keep your idea simple, deliver it simply. Even if the process, methodology, or vision is complex. It can and in most cases be simple.
Boro, your problem is that you're not working like an artist. Artist is the one who has a vision. Which means you see beauty in things others don't see. So artists emphasize those things they think are important, so the viewers would see what the artist thought was important. So if you like arches you emphasize them and break perspective a bit so everyone looks at arches like you do. If you like skin imperfections, you make an accent on them so everyone sees how attractive it is to have a red nose and all of the spectrum on the cheeks and under eyes. You work like a 3D program except for the part machine's doing it's work better. All you need now is to become an artist and break those rules. That's a thing i've been also struggling with for like 8 years I've taught a bunch of students academic arts, drew some academic stuff, did a few game arts and i always thought it's lifeless. Than i read Huxley's Doors and it basically woke me.
i think u shouldve listened to the audience about including a normal human somewhere. i don´t feel like it's scary or tells a story att all.. just thumbguys..
So - damn - important
Easier said than done though - it really takes a ton of focus and planning
Again, thank you.
There is a scientific explanation of why composition works in this way. Our field of view can only focus on only one thing at a time, defocusing the rest. We center in that thing for better understanding of it, then we shift to the next. The process is agile and almost authomatic. When an image presents a composition that uses this same process: Main point of focus and decreasing contrasts all around, it instantly reads as natural and somehow familiar. We completely identify with this way of arranging shapes because thats how we understand the world.
I would not call it scientific at all since science is just a religion and then that explanation is just a religious one. Its an explanation which works, because it is a realistic approach.
@@Yatukih_001 Science is not a religion since its based on a method and experimentation. Its the only way we have to approach an understanding of how the world works. Of course its not an ultimate truth since the method can always be bettered and theories debunked. On the other hand religion is based on faith, belief, myth, tales, parables. Two different things. The explanation I gave works for abstract art, graphic design, typography, movies, anything involving visuals. Of course you still can make art and not follow it, it always depends on your objectives.
@ This comment is a year old but i might guess maybe they meant it's more cultural? You don't read traditional Chinese paintings the same way we do western paintings for example. While there is a scientific backing, it ultimately falls on our cultural preconditioning.
@@transientimages There is a cultural aspect and a biological (scientific) aspect to image reading. They both work simultaneously. When we see images we see value contrast, shape contrast, contours. Greater relationships of contrast attract attention. This is the biological aspect of perception, everyone regardless of culture or race sees this stuff. Objective.
At the same time an image transmits cultural related symbols through its shapes (What do these shapes bring to your mind? what do they resemble?). These symbols differ from culture to culture and even from person to person. Subjective.
Chinese might culturally read in different directions or assign specific symbols to colors that arent the same as occidental symbols. But still the biology of their brains and eyes is the same as every other human being.
Is this the beginning of a new Black Widow painting?
I thought the problem with movie sequels is that the original movie usually started with a writer with an idea they want to share, while the sequel started with a producer that would like to repeat the profits he got from the original idea.
When you talked about "deciding on one thing" it really reminded me of the mashup artworks by Patrick Brown. He embraces the chaos and makes it the focus of the artwork. Every element is designed to make you look at everything else more carefully and scan through the artwork. Every character is drawing attention and then lending that attention to something else on the canvas.
Really interesting video and definitely something I'm gonna have to chew through a few times before I really grasp it.
finally, someone is giving piotr jablonski the recognition he deserves
Piotr is GOAT!
He's an amazing crowd from Artstation.
My favorite artist right now.
Only videos from this channel remind me that i loved drawing before the six-month-artblock started. So i keep trying to love this shit again, thank you
Good luck!
Boro is one of the most important art youtubers out there fr like i never EVER see anyone talking about the absurdly important stuff he does !
Love u boro!
(I'm writing this before hearing what you have to say) I've been thinking about this myself and the answer is obvious. I can NAIL a landscape speed painting that I do freely, inspired, with a clear goal, no restraints and no client to satisfy. But when I do a commission where I have to have a specific character, in specific armor, in a specific landscape, where I need to do my best to make the client feel like they paid for something special, btw I work with private clients who are more personally involved, then there's a lot more that can go wrong, I might not NAIL all the specific details, in this clearly more challenging task. And while I am proud of my big paintings, yeah, clearly those simpler, smaller paintings are easier to get right.
Hey Dante, I was having this issue like A LOT without even noticing. Thanks for the insight ✌🏻
Hey Boro. That is a very good Point. I really often made the same mistake and this kinda opened my Eyes a bit. Extremely important rule, that can save you much work and disappointment.
Man, I love it when you examine the really important stuff. So many technical tutorials without soul out there...
In this case, thinking in terms of "story" can help...
You have a remarkable skill of explaining simply, yet powerfully the one idea that is important to understand. Love every video you make, Boro.
Дякую за урок. Це змусило мене подивитись новими очами на те , що було мною зроблено раніше. Дякую.
Maybe I'm very weird, but I find I have a lot of trouble painting or drawing anything for myself. The lack of deadline is one factor, obviously, but it's also the fact that when I do, there's so much wrapped up in pleasing MYSELF, in making something that shows ME what I can do, or proving to myself that I can do this or that, and it gets overwhelming. It gets too big and too insurmountable and there's no stopping point because I'll never be satisfied with myself.
But it's so much easier to do characters or paintings for clients, because...I have that set goal. I don't have to impress myself or top myself or do something crazy or new or groundbreaking, I just need to get the client to say "That's what I wanted.", and that's good enough. I don't have to worry about exceeding their expectations by miles or blowing them away with something more than they paid for, I just have to deliver something that satisfies their needs. And that is so much less pressure, because I can just send a draft and get that immediate feedback that tells me where to push, and when to stop and call it done. The kind of feedback I can't get from myself.
So yeah. I'm never happy with my own paintings, but I'm generally more satisfied with client work, because I can look at it and say "I finished that, and it looks nice and people like it".
I think about exact same thing all the time because I cannot keep myself from shifting to "show everything I'm capable of".
But the best things I did was the things have the essence and essence only.
Love you man, great videos...
Daniel this video and his words today opened my mind!!! Thank you so much for sharing and your humility!
Hugs!!
Same feelings here. Outstanding content. He's amazing.
This mindset and approach really makes everything easier and less "scary" lol, thank you so much for sharing this! On a side note, I had an idea on your Infinite Ikea painting and wanted to know your thoughts on it, what if all the employees were looking at the camera? Even adding more of them peeking at "you" from behind walls? It would make it really eerie and theatening, moreso cause they don't have any expressions and they have all this uncanny anatomical proportions. I would love to read your opinion on why it would be a good or bad idea to add this, great video btw!
I come away from every single one of your videos with something rock solid. The Simon Stalenhag reference was a wonderful cherry on top. Reminds me of what you've said about focusing on one thing, theme or "universe of characters". And Simon's work is an example of unbound creativity that all kind of exists in the same channel. SICK
I know a artist that always start at the size of a postage stamp then make it bigger.
i felt like my art has been stagnating for a long while now especially for character art, the only time I feel confident and encouraged to do them is when i’m joining somebody else’s dtiys and drawing their ocs. This video really gave me incredible insights to this problem, I literally felt myself nodding the entire 10 mins in. I’ll definitely use the tips and directions you suggested to see how my art can develop. Thankyou so much!!
same here
do you have any social media where you post your art? id love to check it out!
completely agree with this! All of my larger pieces get bogged down with overcomplexity to the detriment of the core concept. It's tough to reign it in sometimes but simplicity nearly always improves things
Also big respect for being willing to criticise + unpack the weaknesses of your old work
that underwater painting with the monster is SICK!! damn
Boro, our shared love for Simons work has brought me to wonder something. How does he paint his long grass? It looks fantastic.
Also i agree with you about the ikea piece. It has enough in it and other people would seriously take away some of the threat they pose to the viewer. If the building would be larger, it would take away from the uncanniness. Right now at first look it's just an ikea, and then the weirdness sneaks up on you. I also don't know if the characters need to or even should overlap. They don't have eyes, so the way they stand right on a direct line of sight to the viewer is like making this weird feeling of them staring. Like they would know where to stand to have a direct line of sight. Would have to see them overlapping to know if it impacts this sense of threat they emit.
Only thing I think that needs something on that piece is the floor or the man on the right. Not both, just one or the other. But i have a weird sense of balance so take that as you will. I like all of your SCP work. It always feels so accurate.
Now I want to go through my latest art and see if I can fix some focal points/points of interest. Thanks for sharing you thoughts, Boro!
Man, I've subscribed to so many art related channels lately, so many interesting things to learn but so little time .. thank you.
Just enter a time loop
This is such an important lesson! I'm definitely going to keep this in mind when I start my next piece
Liked before watching. Now enjoying ✌️
Something I like to do is spend a lot of time on composition, not just play elements.
But being a bag or not is very suggestive, I don't think I can pinpoint what works and what doesn't.
In your case, something more Stalenhåg and Stefan Koidl, it's the best thing, photorealistic art and compositions that tell a small narrative, but I really like your way of composing this one about the woman floating with white creatures I think it's sensational, in addition to the SCP paintings your reading of the SCPs is more "illustrative" that you don't even need the text of scp foundation.
Thank you for this! I struggle a lot also with fitting certain poses comfortably within a canvas without making it absolutely massive and drowning out the character?
Just wanted to say thank you for all the content you are creating, as I learned so much from this. I have more of the metaphysical, as I call them guides in mind. Like your video focusing on shape design for example. I never finished any art school so it is hard to find this kind of information as people tend to focus on more technical stuff. I started taking notice of all the knowledge you shared and it helped my workflow enormously. Cutting down the time I spend on each part of the process and making everything more clear and "natural". Hard to describe all these, almost ethereal like concepts but once again, thank you.
In traditional art school we get taught not to be "precious" with our artworks. One of my drawing class told us to get our best piece of artwork (drawing or painting) and to rip it up and shred it to pieces. Its away to get us out of the habit of being afraid of making changes in our artworks or trying to do everything at once. I wanted to cry but it was a good lesson to learn, you will always be able to make a better artwork.
Photography is a hobby of mine. I’m no painter. I love how you approach composition.
I love this channel because it is boro is teaching through this Kind of learning journal. He is Not like this grandmaster of Art we will never be able to be, but rather someone showing us the progress of improvement. Very motivating
I like that you are able to be critical of your own work. Great attitude!
How people can dislike this stuff... this is a open minded topic, it's not said without a reason that LESS is MORE.
Thanks Boro, this will for sure make me more confident in making decisions about design.
I still love Black Widow. To me it's exceptional.
This is so useful, thank you!! ❤
Love your art and love your analysis. This feels like a pretty good companion piece to your shape design video.
edit: i think there is a ton of stuff to mine on this idea, like the idea of making this perfect thematic painting vs like a frame out of a long movie or story or something. I think people who paint tend to favor the former, but perhaps people with a live action, film or animation background might be ok with the latter.
True and I would recommend photography the best exercise to find the best angle to show one subject in a very specific moment.
thanks for the video. i used to watched your videos. Its good i found you back
I don't know If that is always the best way possible to make it cause each human being sees it very personally and what is considered good for ones are not always good for others, even when these ones are a majority, without some context it is hard to say what it's ideal. It also can change through the ages, at some point in the history, a good art was that one who imitates nature as real as possible. Professionals making their personal work are a whole other story than professionals making client work... and also, we tend to relate "the best works" with our own tastes so there are such a number of variables. But, nice video as always! Thanks!
Great point. Thank you.
This reminds me of my a level final composition- in which my teacher forced me to ‘investigate’ and ‘plan’ the final piece for TWO YEARS. TWO. YEARS. In the end the final composition was horrible, confusing and above all ; sloppy. I got so tired of painting all the separate elements over and over again that when it came to the final bit I just wanted it to end. At the beginning of the course all of my work I was proud of and will be submitting for my portfolio- and Im even submitting my GCSE painting for the V&A! But this final massive painting that I spent years planning- I would throw into the flames in any circumstances if only I didn’t want to keep it as evidence of the torture my teacher put me through.
Lesson; complication happens when you push it too far, wherein you leave nothing to spontaneity and your own mystery (what I think is the best part of art itself)
Lowkey a vent but dude I love everything you’re saying and I wish I could’ve shown this to my teacher so she wouldn’t keep up her reputation of ruining the lives of promising artists :)
I genuinely think the A Level and GCSE art teachings that I recieved were not only largely useless and underdeveloped but were actively damaging to my creativity and development. Sorry you went through this, A Level art really sucked all the joy out of art for me so I can sympathise.
I think Frazetta would be a good example here. So many of his paintings were dark and shadowed. And yet they worked.
Every time I think about a painting that I want to do and I don't immediately start painting, I just get stuck in development and nothing I do lives up to the Ideas I had.... so they go into the Idea shredder
Yeah, I always thinking why others art are simple but also attractive and looks so smooth compare to my art that looks so crisp and have a lot of details.
Ayyy Boro is back with another quality content video
finally someone notices Piotr Jabłoński artworks i love his art, also he made some work for the dishonored series
how funny that i was starting to realize the same thing about what's make a good art
well good
I like the car window transition
Просто хотел сказать, что картина с ангелом моя самая любимая из твоего творчества. И особенно ролики создания картины, шаг за шагом, полировка, финализация - всё это.
Периодически пересматриваю ставя фоном)
I think the biggest mistake for blackwidow piece is your value pattern.
It would be probably better with a low-key values(like your underwater painting at 6:27) since it's a dark scene. Composition and storytelling are totally fine, but this giant highlight and light values looks off for this type of narration.
Like you say, Piotr do it very well. Anyway, Nice video mate!
The mental gymnastics of it all
I think I need to do some more film keyframe studies now
I'd love to see you repaintng rebel angel.
Hey Boro, whats the model of this camera you're filming? The image quality is dope!
You might already know but Stefan Koidl has some works that are really good focally and with storytelling along similar lines of Simon Stalenhag
Unrelated, but I think I know only one movie where the sequel is better then the first one: Captain America: Winter soldier.
They should just make the first movies really bad so everyone can enjoy the second one more XD
Terminator!
I still think your first black widow 3d sketch is my favourite.
- Strong specific decisions
- Don't lose your main idea in a painting
- Simon Stålenhag and Piotr Jabłoński are epic
- Watch the video
man, i did something similar with the monstar in the deep see a long time ago lol i look it and i was WHATTTTTT ahhahaa nice work
I bs through my paintings cuz planning usually doesnt work lmao
Over a decade ago, I wanted to make a portrait of Bertrand Russel. It was going to be a big portrait. The choice was made not to make it too big. So first, the canvas was bought. An old unfinished picture was over painted. Then, one tiny photo was used as a reference. Only one. Only one subject. When visitors came to see the picture, they noticed that any proportion which was wrong had to be removed. So that was removed. As the subject started to become more natural looking, it was decided to place it nearer to the center but not too close. Only two colors are currently being used to create the base. Failed artists rely on things like too many colors because they have not sought advise from people who have been to academic courses describing how these things are done correctly.They rely on the exact same idea as vaccine manufacturers did by hiding their failures in plain sight. Thanks for the video!
I've lost all interest painting big/detailed things now that pretty much all of my audience is looking at my work through a viewfinder the size of their palm >.
You lost your interest because nobody told you that the Great Old Masters relied on the same ideas as modern day computer programmers do when creating paintings. When the first computers, the first monitors and things like that were being created they were not shown to people in the early decades of the twentieth century. The people who made them selected the most productive people to analyze them, so they could tell them if these worked.
This is true. WLOP uses it often.
Hi Boro. I recently started following you here. I'm interested to see where you go now, with this revelation. On account of SCP3008... I don't especially get the feeling that they are hostile, more that they are just wandering. I think some movement of their arms is needed. Have you ever thought about writing a szenario first and then drawing it?
....it needs a resting point...to me, your eye's go everywhere.Tip ; take a look at photography and her Tech aspects. [ self coming from hobby photography to drawing / painting things has helps me a lot to understand tings as they are.]
I like this Peter Jabroni fellow
I would love to hear your opinion on what you consider to be "cheating" when it comes to creating artworks. I know that many artists, including myself, have had that question once or twice hanging around the back of our heads. (For example, tracing 3d models/irl pictures, using filters, fancy brushes etc.)
Big facts
I have to say that I don't agree with the point that more focused paintings are better. I'm a big fan of artwork that tells a broad story in foreground and background. I think theres a sense of over education in art where almost mathematical concepts of framing, focus and composition dictate too much the expression of an artist rather than guide the learnings of an inexperienced one.
"That's why sequels of movies are always worse than their originals" Shrek 2 though
Boro: You can't have multiple points of view
Picasso: Hold my beer
True.
I can't say you're wrong. A simpler idea is much more eye catching. There are definitely classical painters who don't have a strong main visual idea going on in their paintings.
With your IKEA painting, some atmospheric perspective may have helped. But then again, graphic design can completely throw out certain "rules" and still work.
1:23 took me a moment to realize these were torsos
Also, when you mention proper nouns, like artists' names, please put them in writing. Either directly in the video or in the description.
The way I think about making big painting is "Don't make a big painting, instead improve your skills to the point where the "big" painting becomes a regular one, and only then paint it"
Essence
nah the sequel of a movie was probably a rushed idea and less effort
sometimes a sequel is better then the original
Man you look a lot like Valtteri Bottas. A F1 driver
What I dislike about infinite IKEA is that there’s no overlap between the characters whatsoever
I can't believe that we are still here xD
Call me crazy but it sounds like rather than trying to make a big painting you should take a small painting and make it big?
Hola Boro
John Wick....That's all I am going to say. Love me or Hate me.
just tone down the elements
"laughs in Hieronymus Bosch"
So K.I.S.S. Keep It Simple Stupid...which means to me. Don't overdue everything. Keep your idea simple, deliver it simply. Even if the process, methodology, or vision is complex. It can and in most cases be simple.
Second?
Yup
Joke's on you. All my paintings suck.
Boro, your problem is that you're not working like an artist.
Artist is the one who has a vision. Which means you see beauty in things others don't see. So artists emphasize those things they think are important, so the viewers would see what the artist thought was important.
So if you like arches you emphasize them and break perspective a bit so everyone looks at arches like you do.
If you like skin imperfections, you make an accent on them so everyone sees how attractive it is to have a red nose and all of the spectrum on the cheeks and under eyes.
You work like a 3D program except for the part machine's doing it's work better.
All you need now is to become an artist and break those rules.
That's a thing i've been also struggling with for like 8 years
I've taught a bunch of students academic arts, drew some academic stuff, did a few game arts and i always thought it's lifeless. Than i read Huxley's Doors and it basically woke me.
Why this youtuber have Squidward sound
First
No
whats that on your nose
i think u shouldve listened to the audience about including a normal human somewhere. i don´t feel like it's scary or tells a story att all.. just thumbguys..
Isn't the observator the normal guy?
Huh, I just started painting bigger watercolors.