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그림공부

( 그림 공부 ) 야외사생 details vs design

by ts_cho 2023. 12. 21.

John Hughes, “Mount Millicent,” oil, 16 x 20 in. Field and studio painting

 

며칠 전에도 한번 이 블로그에 글을 옮긴 적이 있는 미국화가 John Hughes 가 야외사생에서 details vs design

( 묘사와 디자인 정도로 번역하면 될지 모르겠지만 ) 에 대해서 아마추어 화가들에게 조언하는 글이 있어

그대로 옮긴다. 이미 아는 얘기지만 그래도 스스로 환기를 위하여. ( 번역은 구글 번역 그대로 )

그의 그림 중에 나무를 그리는 방법과 구도가 특별히 내가 참고해야할 것 같아 그림도 몇 점 그의 홈페이지에서

옮겨온다.

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초보자를 위한 풍경화 그리는 방법

풍경을 그리는 방법을 배우고 싶다면 디테일과 디자인 중 어느 것이 더 중요한지 궁금할 것입니다.
이 질문에 대한 답은 디자인이지만, 그렇다고 해서 디테일도 중요하지 않다는 뜻은 아닙니다. 세부 사항은 예술 작품에 

대한 관심과 매력을 불러일으키는 데 큰 도움이 될 수 있습니다. 실제로 옳고 그른 답은 없습니다. 그러나 세부 사항의 

수는 확실히 너무 많을 수 있으며 디자인과의 관련성이 그림의 성공 여부를 결정하거나 망칠 수 있습니다. 

이 문제가 있는 그림은 디자인에 대한 안목이 있다면 쉽게 발견할 수 있습니다!
풍경을 그리는 방법을 배울 때, 특히 그러한 추가 요소가 전체 작업을 향상시키는 데 아무런 도움이 되지 않는 경우 

선을 넘어 "너무 많은 세부 사항"의 영역으로 들어가는 것은 어렵지 않습니다. 이렇게 생각해보세요. 

장면의 세부 사항은 실제로 디자인의 일부이므로 이 두 가지를 서로 대결시키는 것은 애초에 현명하지 않습니다.
이 이야기가 나온 이유는 그림 시연 중에 자주 질문을 받았기 때문입니다. 시나리오는 일반적으로 다음과 같습니다. 

제가 그림을 그리는 장소의 전반적인 디자인 관계에 대해 이야기하고 있을 때 누군가가 “그렇습니다. 

그런데 세부 사항은 어떻습니까?”라고 말합니다. 이것은 일반적으로 질문하는 사람이 그림을 실제로 만드는 것이 

무엇인지 이해하지 못하고 장면의 표면적 매력에 더 관심이 있다는 지표입니다.

 

John Hughes, Farm Field Study, oil, 10 x 12 in.

 

이렇게 말함으로써 나는 질문하는 사람들을 무시하려는 것이 아닙니다. 나는 그들이 어디에서 왔는지 이해하고, 

그들이 무엇을 걱정하는지 아는 것은 내가 수업과 워크숍을 가르칠 때 더 효과적으로 일하는 데 도움이 됩니다. 

이 질문은 실제로 그림의 기본 관계와 특히 그림의 시작 단계에서 세부 사항보다 관계가 얼마나 중요한지에 대한 

더 넓은 토론을 위한 좋은 시작이 되는 것으로 밝혀졌습니다.
나는 일반적으로 세부 사항이 예술가이든 수집가이든 사람마다 중요도가 다르다는 점을 설명할 것입니다. 

일부 아티스트는 많은 세부 사항을 선택하지만 다른 아티스트는 이를 최소화하여 전혀 세부 사항을 선택하지 않습니다. 

중요한 것은 그들이 그림 속에 존재하는 이유가 있다는 것이다. 모든 종류의 물체가 당신이 그림을 그리기로 

선택한 장소를 차지할 수 있지만, 이것이 모두 당신의 그림에 포함되어야 한다는 뜻인가요?

 

John Hughes, Half Hour Study, oil, 6 x 8 in.

 

옛말에 “악마는 디테일에 있다!”라는 말이 있습니다. 그리고 풍경화의 경우 화가의 초점을 너무 많이 차지할 수도 있다. 

단점은 관심을 충분히 끌지 못할 수도 있다는 것입니다. . . 그것은 정말로 일종의 균형잡기 행위입니다! 너무 많이 넣기 

전에 멈춰야 할 때를 아는 것은 진정한 기술이며, "최적의 지점"을 찾는 것은 모든 예술가가 목표로 삼아야 할 것입니다.
세부 사항에 지나치게 집중하는 것은 특히 초보자의 경우 실제 디자인을 보는 데 방해가 될 수 있습니다. 

단순화된 디자인을 훼손하면서 뷰를 향상시키는 것에 유혹을 받기 쉽습니다. 그렇기 때문에 처음에는 세부 사항을 

잊어버리고 잡초에 너무 깊이 빠져들기 전에 밝은 색, 중간 톤, 어두운 색의 흥미로운 패턴을 통해 모티브를 

배열하는 데 집중하는 것이 현명할 것입니다! 이렇게 하면 어느 것이 더 중요한지 혼동하지 않고 세부 사항을 

선택적으로 디자인에 통합할 수 있습니다. 이를 기억하는 쉬운 방법은 Simplified Design, Selective Details의 

약자인 (SDSD)입니다.

이 두 원칙의 순서도 유익합니다. 다음 그림을 그리는 장소에 처음 도착했을 때, 이 점을 염두에 두면 먼저 중요한 

일에 집중할 수 있을 것입니다. 세부 사항에 도달하면 얼마가 너무 많은지, 얼마나 적은지 훨씬 더 잘 알게 될 것입니다!

처음부터 가장 중요한 추상 디자인에 대해 생각하게 될 것이기 때문입니다.

 

John Hughes painting on location near Carmel, California

 

캔버스에 그림을 그리는 것은 집을 짓는 것과 매우 비슷하다고 합니다. 먼저 기초를 닦은 다음 뼈대, 배관, 전기, 건식 

벽체를 만든 다음 캐비닛, 몰딩, 페인트, 카펫과 같은 마감재를 설치합니다. 그 이유는 분명합니다. 하지만 잠재 

구매자가 일반적으로 가장 먼저 보고 매료되는 것은 무엇입니까? 맞습니다. 목록의 마지막 항목입니다!

John Hughes, Class Demo on how to paint landscapes, oil, 8 x 10 in

 

이런 의미에서 화가는 종종 주택 구매자와 같습니다. 때때로 그들은 디자인의 가능성이 마음에 떠오르기도 전에 자연의 

세세한 부분에 의해 탈선할 수 있습니다!
따라서 시작부터(SDSD) 중요도 순서에 초점을 맞추면 효과적인 환경을 실행할 수 있는 좋은 위치에 있게 됩니다. 

이는 더 흥미로운 전체를 형성하기 위해 함께 작동하는 가치 패턴의 확고한 기반을 구축하는 데 도움이 될 것입니다. 

먼저 크게 생각하고 마무리 작업을 진행하는 것이 더 보람있고 효과적일 것입니다!

John Hughes painting in his studio.

 

 

How to Paint Landscapes, for Beginners

If you want to learn how to paint landscapes, you may wonder which is more important: details or design?

The answer to this question is design, but this doesn’t mean that the details aren’t important also. Details can go a long way in creating interest and charm in a work of art. There is really no right or wrong answer, but the number of details can certainly be overdone, and their relevance to a design can make or break a painting’s success. Paintings that have this problem are easy to spot, if one has an eye for design!

It’s not difficult to cross the line into the land of “too much detail” when you’re learning how to paint landscapes, especially when those extras do nothing to enhance the overall work. Think of it this way: The details of a scene are really part of the design, so pitting these two against each other is not wise in the first place.

The reason that this was even brought up is because I have often been asked about it during painting demonstrations. The scenario usually goes something like this: I may be talking about the overall design relationships of a painting spot, and someone says, “Yeah, but what about the details?” This is usually an indicator to me that the person asking the question doesn’t understand what really makes a painting work and is more concerned with the scene’s surface allurements.

By saying this I’m not attempting to slight people who ask the question. I understand where they are coming from, and knowing what concerns them helps me to be more effective as I instruct classes and workshops. The question actually turns out to be a good opener for a broader discussion on the underlying relationships of a painting, and how they are more important than details, especially in the beginning stages of the painting.

I will usually explain that details have a different level of importance to different people, whether they be artists or collectors. Some artists will opt for a lot of detail, while others will minimize them to practically none at all. The important thing is that they have a reason for being in the painting. Objects of all kinds may occupy the places you chose to paint, but does that mean they all should all be included in your paintings?

As the old saying goes: “The devil is in the details!” And in the case of landscape painting, they can occupy too much of a painter’s focus. The flip side is that they may occupy not enough attention . . . it’s really a kind of balancing act! Knowing when to stop before putting too much in is a real skill, and finding that “sweet spot” is something all artists should aim for.

Over-focusing on details can be an impediment, especially for beginners, when it gets in their way of seeing the real design. It’s easy to become seduced by the enhancement of a view, to the detriment of a simplified design. For this reason, it would be wise to forget about the details at first, and concentrate on arranging the motif through interesting patterns of lights, mid-tones, and darks, before getting too far into the weeds! By doing this, the details can selectively be integrated into the design without there being any confusion as to which is more important. An easy way to remember this is (SDSD), which stands for Simplified Design, Selective Details.

The order of these two principles is instructive as well. When you first arrive on the site of your next painting, if you keep this in mind you will be able to concentrate your efforts on the important things first. When you do get to the details, you will be much more in tune with how much is too much, and how much is too little! This is because you will be thinking about the all-important abstract design right from the start.

It has been said that painting a canvas is a lot like building a house: First comes the foundation, then the framing, plumbing, electrical, and drywall, before any of the finish such as cabinets, molding, paint, and carpeting are installed. The reason for this is obvious, but what are the first things a potential buyer usually sees and becomes smitten by? Right, the last items on the list!

Painters, in this sense, are often just like home buyers. Sometimes they can get derailed by the details of nature, before the possibilities of design enter their mind!

So keep the order of importance in focus right from the start (SDSD), and you will be in a good position to execute effective landscapes. This will help you build on a firm foundation of value patterns that work together to form a more interesting whole. Thinking big first, before working your way into the finishing touches, will be more rewarding and more effective!