( 그림공부 ) 야외사생에서 좋은 구도를 위한 조언

Dan Marshall, "Sedalia Shadows," 2018, watercolor, 10 x 14 in. Collection the artist, Plein air

 

오늘 Plein Air 메일에 Dan Marshall 이란 수채화가가 야외사생시에 좋은 구도를 위해 7가지 조언을 한게 있어

여기 옮긴다. 물론 알고 있는 이야기이지만 아는 것과 실천하는 것은 별개의 문제이기 때문에 스스로 다시 한번

환기를 위하여...

 

1. 앞에 보이는 것을 그대로 그리려는 노력을 할 이유가 없다. 그것은 카메라가 할 일.

2. 복잡한 구도에서 불필요한 것들은 제거시키고

3. 그림의 전체 디자인에 도움이 되지 않는 대상들을 굳이 그릴 필요가 없고

4. 특징이 없어 진부하게 느끼는 부분에서는 사람들이나 다른 디테일을 첨가하는 것도 좋고

5. 그림의 메세지를 더 잘 나타내기 위해 대상을 왜곡하거나 변형하는 것도 좋고

6. 사작하기 전에 조그만 thumbnail sketch를 하여 미리 구도에 대해서 감을 잡도록 하고

7. 자주 스케치 작업을 하여 그 이미지를 마음에 두고 있어야 실제 대상이 없더라도 그려낼 수 있다고.

 

1. Don’t feel like you have to duplicate everything in front of you — that’s a camera’s job.
2. Remove unnecessary objects in over-crowded compositions.
3. Leave out any object that doesn’t support the overall design of your painting.
4. Add points of detail, figures, or directional cues to compositions that appear too empty or boring. It doesn’t matter if they’re not present in real life; they just need to make sense and be placed with purpose.
5. Bend reality and reorganize objects to send the clearest, strongest message of your painting.
6. Do thumbnail sketches and learn to pre-visualize your finished painting.
7. Sketch regularly to build up your visual library so you can draw from experience and add elements to your painting, even when they’re not directly in front of you.

 

본인의 그림 구도에 대한 해설 ( 그냥 영어 원문 그대로 )

Dan Marshall, "Sedalia Shadows," 2018, watercolor, 10 x 14 in. Collection the artist, Plein air

1. Sedalia Shadows 

I knew this lovely old barn would make a great subject, but a maze of cattle pens cluttered up the foreground. Eliminating the pens simplified the space and created a more inviting path for the viewer’s eye to travel into the scene. I then used shadows and the angles of the barn to form a visually interesting zigzag pattern that would move the eye further around the painting

 

Dan Marshall, "Afternoon Glow," 2018, watercolor, 22 x 30 in., Collection the artist, Studio

2. Afternoon Glow

This barn in Park City, Utah, appeared in full light when I came upon it. To enhance the brightness, I kept my darkest darks next to the lightest lights. I strengthened the shadows that were there and invented the diagonal shadow on the right to lead the viewer’s eye back into the composition.

 

Dan Marshall, "Sawmill Trail, Dusk," 2019, watercolor, 14 x 19 in., Collection the artist, Plein air and studio

3. Sawmill Trail, Dusk

In reality, the diagonal path existed outside my field of view, but I needed a directional to lead the viewer’s eye into the painting. I moved the element into the composition as I worked in the field. Upon returning to the studio, I found that the piece lacked interest and needed a strong vertical to contrast with the rolling hill. I added the wintry trees, which also helped to enhance the feeling of dusk and push back the hills, creating greater depth.