Composition turns a Painting into Poetry. 5 Tips

Playing around with words and adding a few similes and rhymes can turn even a mundane idea into enjoyable poetry. Isn't it!

Art is nothing but a painted poetry 
An artist is viewing the same scenes which everyone else is. But his artistic eye functions as a filter. It chooses in the scene only the elements which will enhance the intended experience of the audience..

Let me illustrate this artistic filtration and composition decision with a recent painting I did.

Picture credit - Raghu, The Hindu

This photo appeared in a newspaper. I was attracted at the nostalgic joy of that school kids romping in the rain, which was catalysed by that jump and its dramatic reflection. I decided that should be the Central Theme or Topic of my painting.
So, the other elements in the photo should not disturb my central theme. I have to retain only the elements which will support my central theme. Right?

The elements which are not necessary for my central theme

Major Composition decision
I felt that my painting need not follow the horizontal landscape mode of the reference photo. My hunch was a vertical Portrait mode will make the painting different and make it more 'energetic'!
That will also enable to me show the full reflection of the jumping kid, which will make the aesthetics complete.

Some more composition decisions which are subtle but effective
1. The reflection of the sky starts from the top and flows down as a light streak. This is the holding element for all the elements in the composition.
2. The jumping boy's foot protrudes outside the frame, giving a 3D effect depth. 
3. Similarly the water splash breaks the frame on the other side.
4. The water around the boys' reflection was deliberately not painted. The isolated boys' reflections in the foreground adds a dramatic effect. 
5. The background rectangle is not complete like a frame. It has been broken at the top and bottom to give a 'open feel'.
The responsibility of an artist is not to replicate reality. In contrast, he should filter the 'essence', add artistic elements to give an aesthetic experience to the viewer. That is the responsibility of an artist.

- KravMaga SreeRam

Manaseega Gurus - 02 - Sergio Toppi

Sergio Toppi (11 October 1932 – 21 August 2012) was an Italian illustrator and comics author.
Here is a self-portrait in his inimitable style.

What we notice immediately is his mastery of lines which not only define every contour sculpting the shape but also the light and shade intensity. When every comic-book artist was indistinguishable in their output, Sergio Toppi elevated the the commercial graphics to a respected art form.

I see Sergio as a Manaseega Guru since observing his work makes us a connoisseur of

1. LINES
2. INTERESTING COLLAGES WITH GEOMETRIC SHAPES
3. CHARACTERS  WHICH ARE AUTHENTIC TO THEIR CULTURE 
4. ARTISTIC EXAGGERATIONS  WHICH ARE AESTHETIC
5. COMBINATION OF LINES AND COLOR WASH

One complaint against Sergio Toppi, is that his illustrations were so good that they distracted the reader from the story! That kind of talent made him a legend among not only comic-book artists but artists from every genre, Sergio Toppi has a cult following and some of the books he illustrated are mostly out-of-print as they are collectors item.

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S.SreeRam
NATHAN'S MEDIA GROUP
Mobile: 0 9380000555
Email: nathansmedia@gmail.com

Capturing Movement - Step by step tutorial

This is the original image . ((Thanks for the amazing shot! Photo credit - https://www.facebook.com/shankar.dipak ) .)

Always remember what attracted you to this image initially. Your job is to bring out that element in whatever you do with the image, using whatever style you use - line drawing, water color, acrylic, digital whatever.

If you observe this photo has captured the movement where the animals are running diagonally towards the camera. It is NOT a side view, since we can see the chest part of both the animals.
The red lines capture the EXPLOSIVE ENERGY WHICH ATTRACTED ME TO THE IMAGE WHEN I SAW IT. THIS IS WHAT I HAVE TO CAPTURE . THE REST ARE MERE DETAILS.

These lines are the ENERGY LINES which connect both these animals in a poetic fashion. SO I SHOULD NOT LOSE THESE ENERGY LINES IN MY SKETCH.

These are the PROPORTIONS. I took the length of the antelope's body as the basic measurement scale. I measured all the elements using that base length.

Now I measured the VERTICAL proportions using the same base length.

Now I have full clarity on the proportions, scale . So whatever is the size of my paper, If I fix the centre point I can draw the outline of both animals in the centre of my paper.

Here is the defined outlines using a thin pen

Once the outline is defined I try to bring out the VOLUME of each part, since that round shape of legs, heads and bodies will make the animals SOLID.

Now I am fixing the VALUES OF LIGHT on the animals' bodies. Some parts are dark, some capture the light. I study which are the DARKEST DARK and LIGHTEST LIGHT . Throughout the process after this, I have to MAINTAIN THESE VALUES OF LIGHT.

Now, I work on the details like the Cheetah's spots, the eyes , the colouring

This is the last process, where I used a thicker PEN BRUSH to increase the CONTRAST  and HIGHLIGHT whatever I want to dominate.
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S.SreeRam
NATHAN'S MEDIA GROUP
Mobile: 0 9380000555
Email: nathansmedia@gmail.com

The Invisible Energy Lines!

This is a sketch of Luciano Pavarotti, Italian operatic tenor!My  interpretation for this week Caricaturama.  - in which artists from all over the world contest by drawing one celebrity, every week. If you are a budding cartoonist this is a FB page to visit.

I used PEN AND PEN-BRUSH 
The whole sketch is held together by some invisible lines - which i call ENERGY LINES!
Even though the viewer will not see the lines , he will feel it .. He will feel the coherence that make the sketch working together as a whole.

I draw these ENERGY LINES in the rough pencil sketch. After I draw the pen lines I erase the pencil lines. Those lines will be something like this 

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KravMaga SreeRam, Chennai. 9380000555

Giving life to a sketch! Is it ART or SCIENCE!?

This post is for budding artists to whom I wish to demonstrate in a few simple STEPS that "Bringing life to a sketch is NOT only just ART but also a SCIENCE"  

STEP 1 - The Foundation
Sometimes when we look at a scene or a photo, we think, " Hmmm...This will be interesting to sketch." But when we sit down with a pencil, we will keep staring at the paper wondering where to make the start.

TIPS-

• If the face is straight like a passport photo the sketch will be boringly stiff. If the face is tilted and the look is elsewhere, the picture will be dynamically natural.
• Decide how much space the picture will occupy on the paper. Based on that, if you fix your approximate measurements, it will be simple.

Since the subject in this sketch is extreme close-up, I took my base measurement scale as the forehead height, hairline to middle of eye-brows.

Some artists prefer to draw a grid of squares and base measurements on that grid. But. learning to visually judge measurements holding the pencil is a good practice.

Courtesy - http://www.beginnersschool.com/2015/05/04/measuring/

STAGE 2 - CONSTRUCTION

Once the measurements are fixed, you can start sketching the outer-lines of each element. DON'T FOCUS ON BEING 'PERFECT' at this stage. Now your objective is to understand the important elements of the final image.
After sketching the outlines, mark the DARK AREAS of the image.

The objective of marking the DARK AREAS is to add dimension to the flat pencil sketch. The sketch now acquires a 3D feel, which will increase your energy and confidence.

TIPS - 2 Artistic Devices 

1. ANGLE OF LINES 

If you observe the lines defining the dark areas, you will notice that they run in the same direction as the slope of the raised areas. This enables us to feel the VOLUME of the parts we draw. The sketch also becomes alive by rising from the surface of the paper.

2. ENERGY LINES 

The other subtle and mature artistic device are what I call the ENERGY LINES.  These lines help us to understand the flow which connects the various elements and make the whole image function as one unit.

You can draw these lines to understand the flow and later erase them before or after finishing the sketch.

When we look at the ENERGY LINES separately we can appreciate the lyrical life of the image. Here they are. Have a look!

These ENERGY LINES are like the basic musical Raga which underlies all the elements of a song.

STAGE 3 - POLISH & FINISHING 
Now we have all the elements in our control. It is time to drop the pencil and pickup the pen or brush to apply confidently.

STAGE 4 - GIVING CHARACTER
Define the dark areas and bring them out in full contrast. If you hesitate at this stage the image will fall flat and become insipid. The CONTRAST is a major catalyst in giving an unique CHARACTER to the image.

You can wrap up and close the sketching at this stage. Or you can continue to add a few flourishes if there is a specific need or if  your are in a mood to experiment.

Governor Dr Tamilisai Soundararajan ! Pen & Pen-Brush. by KravMaga SreeRam

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The metamorphosis of creating!

I prefer to draw manually, but drew this on a freeware GIMP so that I can explain the progress, to some friends who specifically asked me to explain the progress.
1.. is the reference image.
2. GETTING THE PROPORTIONS
When we work on computers, the easy way out is to trace the image, But there is NO learning in that. To teach myself to observe the proportions, I took Morgan's face length as the base measurement scale. So his shape in this photo was roughly 3 faces height and approx 2 faces width.

3. BASIC SHAPE ON LAYOUT
Now that I had the measurement references, i fixed the centre line of Morgan, approximatly cutting him vertically down from the centre of his eyebrows and along his jacket's edge /lapel.
Once these parameters are defined, it is reasonably easy to draw Morgan's outline on the overall layout.

4. COLOR BLOCKING 
In another layer, I started fixing the color hue (color) and values (light to dark). At this stage I am not getting into the details, as my intention is to get the image's unique character in place. I know if i get this stage right, it is only a small step forward to ...

5. FILL IN THE DETAILS
This is more or less the last mile of completion. One can leave with this version or add some drama with....
6. COLOR CORRECTION
add some personal flavour in the color, make the tones richer, remove some unwanted details.
This is more or less the thinking and execution process when working on an opaque medium like oil, acrylic or crayons..
While using water colors we have to be more deliberate while blocking the colours, since no camouflage is possible
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SreeRam
0 9380000555

Manaseega Gurus - 01 - John Constable

In 18th century England, landscape painters were not respected. Biblical, mythological themes or portraits only were considered art. John Constable coming from rural Suffolk did not care much for the critics and painted the scenes around Dedham Vale, which even now is called 'Constable Country'.

While his own England did not recognize him, Constable became a rage in France where his 'The Hay wain" won the Gold at 1824 Paris Salon.

He was way ahead of his time with his Plein air oils, which captured the drama of sunlight on clouds, water and sprawling fields. In fact, John Constable was an inspiration to the later Impressionists.
John Constable's paintings consciously avoided the signs of the booming industrialization. Thats why he is the quintessential painter of idyllic rural England.

View his painting at - https://www.john-constable.org/the-complete-works.html
Read more John Constable quotes at https://www.brainyquote.com/quotes/john_constable_825196

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SreeRam 9380000555