Download PDF by Jerry Yarnell: Paint Along with Jerry Yarnell Volume 6: Learning


By Jerry Yarnell

In studying Composition, Jerry Yarnell is helping you achieve new degrees of inventive services. inside of, he offers insightful, easy-to-follow directions for development powerful compositions - the type of dynamic designs that would make your work pop!

Drawing upon greater than thirty years of portray and instructing event, Jerry information 3 varieties of composition, the foundations of excellent layout, the correct use of adverse area and extra. Seven stunning, step by step portray initiatives illustrate each one proposal in action.

From stunning log cabins and mountain peaks to rocky roads and windmills, Jerry makes it effortless to extend your talents and self belief. seize your brush and paints and start this day!

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Extra resources for Paint Along with Jerry Yarnell Volume 6: Learning Composition

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1371_1_Text_P01_41_4C 8/20/08 20:35 Page 28 LRG08081371_001 LPP (SU) P28 L-Shape Composition The viewer’s eye follows the shape of an L in this type of composition. Generally, you can use the L-shape composition for a painting that has very few objects. In the example below, I mainly wanted to focus on the large tree and not much else in the painting. I made the tree the largest feature in the painting and set it left of center. In an L-shape composition locate the fillers well within the eye flow of the L.

In an L-shape composition locate the fillers well within the eye flow of the L. Placing the tree left of center creates pockets of good negative space. Keep in mind that no matter how simple your painting is, you still need to be sure that all of the elements of composition apply. center of interest eye flow Fillers Add Interest The main fillers in this example are the mountain, the house and the clouds. Notice that the fillers don’t compete with the main center of interest—the tree. The main purpose of fillers is to fill up space and add interest to the painting.

The mountains need to be more dominant and the space between the tree and the cabin is uninteresting. I also need to figure out how to lead your eye into the painting. It’s back to the drawing board. The main problem in this sketch is poor negative space. Changing the shape of the mountain can be a possible solution. Better Design I am more pleased with this design, but there are still many problems with the composition. I need to change the direction of the road and adjust the pocket of negative space to the right.

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