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5 Fundamental Skills Every Artist Should Master

by BOBBY MYERS on AUG 9, 2013

Type: ARTICLE

As an artist, your job is to immerse your viewers into a world that you have built

and guide them safely through it. Artists have much in common with storytellers.

Storytellers have several tricks that they use to keep their readers coming back for

more. Like storytellers, artists can use similar tricks to help them produce more

compelling artwork. In this article, we will explain 5 fundamental skills that every

artist should master. Let's take a look!

1. Composition

The most important aspect of art to me personally is the composition. It sets the

stage for everything else. This is your way to guide and lead the viewer to make

them feel as if they are actually in your picture. If this part of the process is not

created and controlled properly, everything else can and probably will fall apart.

That doesn't mean that you have to follow every little rule. In fact, many have

broken them and created very successful works of art. It's knowing how and when

to break them that will allow you to do it successfully. But before attempting

anything like that, you first need to learn the rules and see how they work and

function.

Rule of Thirds

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This is the simplest and most used composition technique, one that I use a lot

myself. Because it is simple to learn, it's something that is recommended for

beginners and those who are new to the fundamentals of composition. When used,

it will divide the picture into 9 equal parts that are separated by two horizontal and

vertical lines.

The main idea behind this is to place your most important element/object on one

of the intersections where the lines converge (the +'s), as well as along or near the

vertical line of wherever your focal may lie.

It is believed that when this is used and your subject/focal sits on one of these

spots, it creates more interest in your picture rather than having it centered.


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Iconic


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In contrast to what was stated above, this particular composition sets the focal

point directly in the center of the picture. Although it is mostly used for

character-based pieces, that does not mean it can't be used for other means, it also

explains why a central focal point is desired.

For character artists, one of their goals is to place the character right in front of you

and draw as much attention to it as possible. There is no better way than to put

them right in the center of things. Which is why this composition is most appealing

for characters (but again, don't let that sway you from experimenting).

In addition to the central focus, the diamond shaped guide shows us where we

should be placing most of our attention and detail. The viewer obviously won't be

seeing your work with these guides on, so you must show them what is most

important in your piece through lighting, color, detail and many other things.

Anything outside of this diamond is not nearly as important and should not attract

as much or more attention than what is inside of it.

You can use these basic guides either as a starting point for more complex

compositions or to create an entire piece. The choice is up to you, but my

suggestion is to learn about them completely before taking on more complex

compositions. Also, there are more composition rules and examples out there that

bring up many other points than what I list here. I encourage you to search them

out and read them.


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Leading the Eye

Now, let's take a look at some other examples of how to direct the viewer's eye to

the focal point.

In PI-2, you can see how the light immediately locks your eye into the focal point

because of the strength and intensity. Other factors of this are color, placement

within composition (rule of thirds) and because almost everyone in the scene is

looking at the focal point it creates an implied line and causes you to as well. What

keeps us locked into the focal point here however is the circular motion of the

people floating in the air.

In Crysis 2 (below), the artist used light, color and placement within composition

to guide the focal point. The most obvious and beautiful lights are coming from the

spotlights and headlights from the vehicle, which all point towards the focal point.

Secondly you have gunfire from the weapons converging on it, leading your eye

directly towards it. Lastly, the artist used the rule of thirds for placement in this

composition. Another point could be made for how much action is being taken

place within that area. All of these have lead to a successful piece that clearly

defines the focal point and the areas surrounding it.


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In the piece below, the artist uses the walkways that form around the pillar to lead

the viewer into the focal point. As the dragons fly around it we follow them, which

keeps us in this area longer. Because the pillar is in shadow and bright light is

directly behind it, the artist has also used values and contrast to make it stand out

even further.


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In the artwork below, I used a number of elements to direct the viewer's attention

to the focal point (the castle). The arch in the background and the bridge over the

waterfall are both going directly into the castle. Since the image has a slight angle,

all of the mountains appear to be leading to the castle, which helps point the viewer

in that direction as well. One other thing helping the castle stand out is the color

used on the tops, which is contrasting against the yellows, greens and reds that

surround it.

In the image below, I have shown how you can keep the viewer's eye from easily

escaping the image via framing. You can probably see how this works just by

looking at the image. But what I've done here was use the "arm" parts that are

coming out from the red entity as a way to frame the image. This technique can be

used to "lock" the viewer in the piece and keep them in longer. It can be overdone,

but if you keep it to a reasonable level, it can come in handy. One downside to this,

especially if overused, is that it can become annoying and make the viewer want to

leave sooner.


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2. Perspective

Everything has a perspective. When standing in the street, look around and notice

which side of the buildings you can see and why you see them all from different

viewpoints. Then while you're at it, go ahead and look down a road, why does

everything appear to get smaller as its distance is further away from you? All of

these things have to deal with the perspective of those objects and your viewpoint.

Perspectives are an essential skill to learn, for architectural, environmental and

many other reasons. They provide us with a way to create and build elements and

objects and correctly place them within the picture plane. Perspectives rely on the

horizon line (or sometimes called the eye level line) to find what is called a

Vanishing Point. Vanishing points are where your perspective lines will originate

(see below examples).

One-Point Perspective

This is the simplest of all perspectives to learn, but one that is not widely used a

whole lot because of its limitations. That being said, it can be very beneficial,

depending on what scene you are creating. In this perspective, there is a single

vanishing point going back to the horizon line, which the object is receding to.


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Two-Point Perspective

When more than one side of your object is receding back to multiple areas, you will

need to use a two-point perspective system. When used, you will create two

vanishing points, each on one side of the object/element. These points will again

originate from the horizon line, and the perspective lines will run from this point

all the way to the object. There is where you can really start to see perspectives

shift.

Most times your vanishing point will be way outside of your picture, but don't

worry. If working traditionally, you can always use extra paper to measure the

exact distance. If working digitally, extend the canvas out until you find your

vanishing point.


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Three-Point Perspective


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The three-point system is used when you really want to convey an extreme

situation. It can be useful for scenes that are playful (doing a scene from a bird's or

dog's eye view), exciting (action), and many more. To achieve this perspective, you

will be using the exact same system from the two-point, but adding in a third

vanishing point that is either above and below the object/element.

The third point acts exactly the same as the other two, so don't get tripped up by it,

there's nothing sneaky about it. The only difference here is that the top or bottom

(the verticals) of your object will adhere and recede back to this point. Which is

what gives us that warped look and feel.


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Let's a look at some examples that show great use of perspective:


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3. Value

Values are the range of brightness and darkness within your image. They are white,

black and everything in between. Even with color, how dark or light that color is

(tints or shades) is a value. The closer something is to the foreground, the darker it

will appear (depending on lighting and other things, of course), anything receding

away from it will gradually get lighter as it fades into the horizon (in terms of

landscapes). Take a look at the graph below and use it as a reference for when we

discuss this more in depth further down.

Even more so than colors, the values of your work are one of the most vital

elements of whether or not your piece will be successful. If the values do not read

correctly (being able to distinguish FG from MG to BG, and/or the focal point from

the surrounding area), then it wont matter how great your composition, lighting

and colors are, the piece as a whole will fail because the values dont read properly.

So, what do I mean by them being able to read properly? Well, lets take a look. The


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image below is a value study by Claire Almon that was done for one of her Marie

Antoinette pieces (further WIP with color is posted below this image). Take note of

all of the different values within the image and how you can clearly distinguish

each element apart from the other. Values help determine the overall lighting in

your scene and how one object looks against another (which can help with

composition and a whole list of things).

More importantly though, values separate distances within the ground plane, and

its with this separation, when done correctly, that allows the viewer to read your

work the way you intended and lead their eye to the focal point. Its from here that

you can then work on and begin finalizing your color schemes as shown below.


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Here are a couple more examples of using values correctly. Take note of the

different values used within one single image/design to help tell each element

apart.


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4. Color

Much like lighting, the color of your piece depends on many things; the time of day,

season, location and so on. Determining the color scheme is important to do early

on, even from the start if you can. Remember that things will always change and

evolve, so the colors of your piece most likely will as well. As with everything, just

because something looks good at one point, doesnt necessarily mean it always will.

So dont be afraid to mix things up along the way and find something that might be

better suited for what you're working on. Keep in mind that its very easy to go

overboard with color as well, so know when not to mess with it.

Knowing how to choose your color scheme depends on the time of day, the

weather/sky, what season of the year it is, and whether or not youre on an alien


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planet or in space. There are countless things that could help shape the colors of

your painting, so its best to get an idea of what they are sooner than later to

minimize headaches before heading into the final stages.

The color you choose should display any emotion or situation you want to convey

to the viewer. If you have a fun or action piece, bright and vibrant colors might be

your best bet to display that sense of action and intensity. If you're going for

something a little more moody and withdrawn, you could then always opt for a

darker and less saturated overall color scheme, but have your focal point be the

more vibrant than the other parts. There are many variables that can lend to what

type of color you use for your piece. Your job is to figure out which of them will

work best.

Here are some examples of how color is used effectively to help storytelling,

emotion and to guide the viewer's eye:

In the GOLEM image, the artist has built strong color around the focal point, which

clearly signifies where most of your attention should be payed. The colors that

surround the toy figure lend to this piece's playful nature, as well as add a layer of

mystery and fantasy. The outer parts of the composition have earth tones, which

are not too saturated. This helps the focal point further stand apart from the rest of

the image (while maintaining balance) and allows for the playful side of the

subject/theme to be fully explored.


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Here we have a contrast of color, which makes the focal point stand out. This is one

of the most-used ways of using color to achieve good composition because it is both

effective and dramatic in terms of composition and storytelling.


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In this piece, I used the holographic screens on the landing pads to set it apart from

all of the other elements in the scene. Since it is the most saturated part in the

composition, I knew the viewer's eye would always eventually gravitate back to this

area because it was the most interesting. I also wanted the feeling of an older

science fiction work, so I stayed away from really vibrant colors.

5. Lighting

Like all major elements of art, lighting is crucial. Mainly because the average

viewer knows what realistic lighting looks like, even if they dont know exactly what

it is that makes it look real. They can usually tell if something is working or not.

Sometimes you can get lucky and fool them, but most times it can break your shot

and make all the hard work that was put into your piece wasted time and work.

And that's definitely not what we want.

So, in order to know how light reacts to the environment and different materials,

go outside and study it. If you are basing a piece off of something else (e.g., youre

your photographic plate in terms of matte painting or anatomy for painters), study

it until you can confidently tell somebody else how it looks, feels and functions.


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Using photos is fine, but theres an almost infinite source just outside those walls

you are in waiting for you.

Much like color, lighting can convey much emotion and depth. Let's take a look at

how this can be achieved.

Once again, in the image below, there is strong lighting that's being cast on the

focal point. The shadows in the foreground create depth in the image and allow for

the viewer to get a clear view of the focal area without the foreground going

unnoticed. Because the foreground is in almost complete shadow and the

midground is where we see most of our light, this allows for the viewer to have a

greater impact on the focal point and what is happening in the scene. Almost

immediately they see the destruction of the world around them as if they were

there on the street.


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Being a master of his craft, this piece by Dylan Cole makes no exception. Both the

foreground and background are lit to display all of the work that went into it, while

the composition is pushing you into the background towards the focal point.


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Conclusion

So now that we've covered all of these topics, I'm sure you're wondering how to use

and incorporate them into your work. This, just like anything else, is about

becoming familiar with them and practicing until you have a clear understanding

of what they are and how to use them properly. Remember that we all learn

differently, so if it doesn't come easy to you don't be discouraged. Just keep

pressing on with small studies of each of these topics. After a while of doing them,

you will notice things that you hadn't before and that is when you will start to learn

and really push yourself.

Thanks for taking the time to read this article. I really hope you are able to take

from this and apply it to your work and learn from it. Just remember that every

great artist that you look up to started from the bottom and had to work their way

through all of these skills. Continue to push yourself in the right direction with a

strong goal in mind and you can become great at what you do.


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22 comments

Best Community Share

forevermachine

Nice article, I like all of your points. However, I don't think artworks will "fail" if they don't

follow these rules. Sure you said many pieces or art break the rules here and there, but I

don't think they break them in a specific manner or a specific way.

When I make a piece of artwork, I want it to exist in it's own universe. I want it to have it's

own reality.

But then again, I'm not a strict realist and it doesn't bother me when my pieces deviate

from the realm of normal possibility. For some people, their taste and preference for their

own work obviously will follow a different set of standards. In that regard, so will the taste

and preference of those viewing and appreciating the finished work. This is why when I

read absolutes such as "always" and "fail" and "need" and "have to" in an article, I find it a

little bit extreme. However I do appreciate that you noted about art breaking the rules as

well.

Remember, only a Sith deals in absolutes!

15 1

Bobby Myers

You're absolutely correct, it was my mistake to say it in that way. What I meant was

it won't be as fundamentally sound (with whatever rule they choose to bend/break),

but that most certainly doesn't mean it won't be as good as any other piece. I have

seen many pieces that go against these guides and are amazing pieces because

the artist knew how to bend the rules in their favor.

It wasn't my intent to come across as one-sided.

2

Alex

Unfortunately, when dealing with human eyes and brains, you cannot escape these

rules. It doesn't matter if they aren't as strict as gravity. You argument is the main

reason art decayed as it did. Not following rules that *work* won't give you any

freedom, on the contrary, will only help you deviate from your goal, which has to be

to keep people interested in it.

The rules specified here are but a mere fraction of all compositional rules you can

use. They should encompass all and every possibility for expression. You can't just

do whatever you want and expect to succeed. There's nothing wrong with being

wrong and fixing it. It isn't impossible to achieve anything with a work, but it must

be done correctly or it simply won't get there. These rules are meant to help, not

interfere. Unless your position is one of contemporary "artists" who glorify into

'nothingness', want to shock and to weird viewers out.

8


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