03-13-2014, 05:20 PM
I think for environments specifically, you should focus on three fundamentals first.
1. Perspective
2. Values
3. Composition
Other things that really help with environments are understanding how to imply scale with specific cues (the ubiquitous flock birds is an example of this) , using atmospheric perspective and shape language.
These things are the most important. To aid you in this practice try some or all of the following.
- restricted value thumbnail studies of master paintings I.e pick 3 or 4 values from dark to light and only using those block in the major values you see. Spend no more than 30 mins on each one.
- after doing the above analyse the images compositions. Draw in on top of the compositions the major lines of flow and the focal points using a bright colour. What makes the value structure and composition work?
- start doing your own compsitions using only 4 value thumbnails focusing on the main 3 fundamentals above but keep it extremely simple and do more than you want to. 20, 50, 100? As many as you can. Ie block in quick 4 value composition thumbnails. Don't get caught up in detail. Repeat.
Draw in on top of the compositions the major lines of flow and the focal points using a bright colour.
- also think about and vary your shape language in the above step. Ie choose to use mostly horizontal lines, rounded shapes, triangular shapes, a combination...etc shape language is a design feature of environments and helps create a cohesiveness to your work.
- research atmospheric perspective and really understand the 3 rules. Effective use of atmo. perspective is absolutely key to good environments. Apply this to your work.
- perspective construction. As.johnhop said Isra's thread may be good for exercises, also look at loomis' s Successful Drawing book for a good analysis on perspective, though he does focus on the figure a lot. Understand how to construct everything up to 3 point perspective. More than that is probably overkill to start with. You can get away with up to 2 point only if you are short on time to create some finished pieces.
- also for perspective a good exercise is to take a photo and work backwards, drawing the grid on top. You'll start to learn how focal length and lens distortion in photography effects perspective as well.
Once you're happy with your progress, start bringing colour into the mix. Colour can really screw with your understanding of value, so having that solid value grasp for composition and depth will help.
- Do similar studies as the value thumbnails, but this time focus on colour pallettes and temperature changes.
- go back over areas of the master paintings with your eyedrop picker and note down how value, hue and saturation changes. Note how effects are created by changing some or all of these over the picture. I've actually learned an amazing amount from just doing that and not even doing the painted study sometimes.
-similarly colour pick over phots or moods you want to achieve and see what makes them tick.
Then once you are raring to go, start some finished pieces. Make use of all your practice. When you run into something you don't know how to do, such as architecture you have never drawn before, or a mood you haven't attempted before, weather effects etc, this is when you gather reference and start doing studies on the side to help your understanding and apply to your piece.
If you are a bit more serious about environments, the most often quoted bibles of landscape painters are carlson's guide to landscape painting, and composition of outdoor painting by edgar payne. These aren't "how to's" but give you a better understanding of the fundamental makeup of great landscape paintings. Also Stapleton Kearns's blog has some amazing info and analysis of traditional environment painting, but you have to use the keyword search feature to dig into the archive. I've learned so much from his well written and simple analyses of painting and master painters. These three are less the scott robertson approach of "how to draw" but more about what makes a great painting. Two different th7ngs with overlap.
Good luck!
1. Perspective
2. Values
3. Composition
Other things that really help with environments are understanding how to imply scale with specific cues (the ubiquitous flock birds is an example of this) , using atmospheric perspective and shape language.
These things are the most important. To aid you in this practice try some or all of the following.
- restricted value thumbnail studies of master paintings I.e pick 3 or 4 values from dark to light and only using those block in the major values you see. Spend no more than 30 mins on each one.
- after doing the above analyse the images compositions. Draw in on top of the compositions the major lines of flow and the focal points using a bright colour. What makes the value structure and composition work?
- start doing your own compsitions using only 4 value thumbnails focusing on the main 3 fundamentals above but keep it extremely simple and do more than you want to. 20, 50, 100? As many as you can. Ie block in quick 4 value composition thumbnails. Don't get caught up in detail. Repeat.
Draw in on top of the compositions the major lines of flow and the focal points using a bright colour.
- also think about and vary your shape language in the above step. Ie choose to use mostly horizontal lines, rounded shapes, triangular shapes, a combination...etc shape language is a design feature of environments and helps create a cohesiveness to your work.
- research atmospheric perspective and really understand the 3 rules. Effective use of atmo. perspective is absolutely key to good environments. Apply this to your work.
- perspective construction. As.johnhop said Isra's thread may be good for exercises, also look at loomis' s Successful Drawing book for a good analysis on perspective, though he does focus on the figure a lot. Understand how to construct everything up to 3 point perspective. More than that is probably overkill to start with. You can get away with up to 2 point only if you are short on time to create some finished pieces.
- also for perspective a good exercise is to take a photo and work backwards, drawing the grid on top. You'll start to learn how focal length and lens distortion in photography effects perspective as well.
Once you're happy with your progress, start bringing colour into the mix. Colour can really screw with your understanding of value, so having that solid value grasp for composition and depth will help.
- Do similar studies as the value thumbnails, but this time focus on colour pallettes and temperature changes.
- go back over areas of the master paintings with your eyedrop picker and note down how value, hue and saturation changes. Note how effects are created by changing some or all of these over the picture. I've actually learned an amazing amount from just doing that and not even doing the painted study sometimes.
-similarly colour pick over phots or moods you want to achieve and see what makes them tick.
Then once you are raring to go, start some finished pieces. Make use of all your practice. When you run into something you don't know how to do, such as architecture you have never drawn before, or a mood you haven't attempted before, weather effects etc, this is when you gather reference and start doing studies on the side to help your understanding and apply to your piece.
If you are a bit more serious about environments, the most often quoted bibles of landscape painters are carlson's guide to landscape painting, and composition of outdoor painting by edgar payne. These aren't "how to's" but give you a better understanding of the fundamental makeup of great landscape paintings. Also Stapleton Kearns's blog has some amazing info and analysis of traditional environment painting, but you have to use the keyword search feature to dig into the archive. I've learned so much from his well written and simple analyses of painting and master painters. These three are less the scott robertson approach of "how to draw" but more about what makes a great painting. Two different th7ngs with overlap.
Good luck!