Composition for Noobs | Beginner Guide

Hello everyone, my name is Julian or Flow Graphics and welcome to

composition

for newbies. Now this is not just for

beginner

s, it can be for anyone. There will really be a lot of useful facts and information in this video and it will be super, super intuitive. I'm going to do a lot of drawings and do a lot of things, so it will be very easy to follow, so I divided the

composition

into three types of levels or sections, now the composition applies to any, as if you really do it. If you are a photographer or videographer, if you design games, if you are an illustrator, painter or anything to have art, you need to know composition, so I have divided it into flow, which is the rules, leading lines and negative space.

I have also divided it. this in color and focus, which is color and focus and then the story, what is the content, the implicit story, also the style and the emotion. Now I'm going to go through all of these sections one by one and show you if you've mastered them all. These together will make your artwork or anything you create much better and you will be very good at composition, so let's start with number 1, which is flow, so I'll draw these two little scenes here, these compositions and I'll show you how those three elements make up the flow.

Which are the rules? The lady draws a negative space, so if I draw a little beach scene here I'll make a seagull or a bird hum and then these can be the waves and the ocean and a little sunset and some sand. Pretty simple scene, not much, but it's a nice scene, it's well composed and there are a couple of reasons for this: it follows the rule of thirds, so if I draw something like a box, I mark a box like dice, you can see each of these points, the bird, the sun, the ocean, it lies perfectly in each of those cross sections of the rule of thirds, it also flows very well with the main line, so the main lines are basically where your eye looks and they have what kind of directions the image

guide

s you in and you can see that it has this kind of pattern where you turn in a circle as you look at it, you look at a seagull, you look at the Sun, you look back at the seagull and you have this kind of nice pattern or the circle, but if I then copy this image and we'll change it and adjust the composition a little bit, I'll erase these little edges here and then draw a little bit here with the composition now it's higher up the camera looks down more and the seagull and all the kind of ocean everything is right above and this has totally changed those main lines or lines of action because we no longer have this A nice kind of spiral and all this negative space that frames the top of the bird and the Sun now it's right at the top of the frame and your eyes want to look up, everything points up like a pyramid and kind of leads. outside the photo it's not really aesthetically pleasing it looks a little strange because your eyes naturally wanted to go up and look if on the left your eyes naturally want to go around and basically just stay in the middle and that's how the composition , something very, very simple, it can actually affect, all I did was move it up a little bit out of the frame, but then it just offsets the balance of the image a little bit, changes it a little bit. the lines of action change the rules you're

guide

d by and it also changes the negative space, which is what I'm going to show you now, so definitely the sky here is a great form of negative space in this image, so if I just fill it in In the sky like this, you can see on the left, there is a lot more negative space than on the right and this gives the impression that in the image on the left the negative space is pushing down that whole kind of detailed section on the left . which is that you know the waves and the Sun and the pole and the sand and all that and it gives a good balance, we have this big detailed section and then this big blue wall that frames the seagull. and then everything else stays fine until the end, if you go to the right, there's a lot more detail section and a lot more kind of foreground that's going on and it almost feels like that kind of push up and we lose balance in the right side there's too much of that where there's not a lot of matte negative space, we can fix this, you could understand the color and try to turn it into another form of negative space that would balance it out a little bit, but then if you put some grass or whatever detail, you would lose that negative space and add more foreground elements and details, which would make the image quite busy and a lot of things happening if that's what you want to achieve.

That could work, but you need to know the impacts of this and how it actually changes your view of the picture because everything matters, all things matter a lot, so if we look at these kinds of things now we have the rules that You know the Fibonacci spiral is a great rule if you haven't seen it, we also have the rule of thirds. There are a lot of different rules for photography. I don't like to follow them too much and I say that although the Fibonacci spiral The spiral is interesting, there is a lot of nature and the rule of thirds is that it always works if you take a photo of a tree and then a little Sun, just think about that, it's well, if I quickly move that tree and the Sun so that they are above them. third line rule, it might make it look a little more interesting or if I want the tree to be right in the middle of the frame, that's one approach, that's fine too, but you just need to know how that will actually affect your scene and then Also think about the negative space above if it's just a big blue sky and you have all this dead space above the tree and the Sun is so good, that's what you want, do you want the field to look at all that negative space? or you should draw a little cloud up there that can act as a bit of fill for the viewer to look back at something else, we have sort of action lines, you could actually draw action lines before you even create the image. here I've just created a couple of lines and I'm turning this into an image so it's supposed to be the Batmen signal hum and then we have some small buildings behind it and a small town so I started with a couple of random lines . lines that I thought were interesting and I made a pretty interesting composition from that image to show you how strong you can make lines and make them an important part of your image and the following are also converging lines, this is just a little kind of The technicality with the composition also has to do with the color, ooh, too, which I'll talk about later, but you don't want the lines to essentially overlap, like you can see the pole here and the sunlight, the bird and the Sun, everyone.

Their edges overlap and are what are called convergent lines. It doesn't look very good if I quickly redraw this in a slightly different way, but SADS moves a couple of meters on the beach, so there's a little more room. suddenly it's okay, but if that seagull was right at the edge of the water and it overlapped the Sun and it overlapped the Sun's light trail, it would look a little strange, there would be a lot of corresponding things at the same point and it doesn't look very okay so think about the rule of thirds think about the Fibonacci spiral think about other rules of composition also think about lines of action and how they guide you through the image and what kinds of things are attractive to the eye and Then, also think about negative space when you're creating photographs, because negative space is just as important as the photo itself, because there are many different elements that make up a photo and now that brings us to color and focus, so obviously They are composite of color and focus.

I'm going to draw a little picture here, it's always difficult to draw pictures freehand, so what will be in this picture is a composition. I'm going to do two. There will be identical compositions, but changing the colors, so I'll let you guys see as I speed this whole thing up, I'll speed it up and just talk about what I'm doing and basically the same thing saying that all the colors are different now that these are not necessarily good or bad, they are just different and they give very different effects and they change the way you see the image and they also give off different feelings and they are just different, so if we start with the left probably the most noticeable part is the converging colors, just like I talked about lines earlier convergent, we have convergent colors, the cliff face is the same color as the sand and the boy who is wet or the girl is actually wearing a blue dress. green jacket which is exactly the same color as the ocean, next is the whole portion, all kinds of bottom part, besides the sky, it has a little bit warmer tone, the green is a little more shifted towards the yellow, which he does it a little well. so the blue has moved a little bit more towards the green, we have some fall colors with the trees and then we have this blue sky at the top that makes this big color split where the weather is on the right, it's a little more uniform , there are cooler colors everywhere and yet we have a lot of these converging colors that really change to flow in the image now, in a way that you can potentially avoid this, all kinds of alteration as we focus, so If I go around and cut out This girl here is the best I can do.

In fact, I'll do the opposite of that, no, no, so what we have to do is, if you sometimes have problems like this, you can just tell the person to go check a different jacket. or maybe when you're painting or creating a character, you change your color yourself, but if you can't control those things, you can change the focus and position of the composition, so maybe you basically just blur the background. and that will make the foreground and the colors so much more convergent and so obvious and it really just distinguishes the foreground from the background and actually changes our composition.

A lot of people don't think about focus when I think about composition, but that's definitely something that is very, very important and not just focus but also the saturation of the colors, so even if we go back to the right we have a bright pink dress and draw your eyes directly to it. Now I chose pink because it was just a bright color, but there's nothing to think about, they're actually groups of colors, so for example blue and orange are actually complementary colors opposite each other on a wheel of colors and we could make that dress orange instead of pink, but if the sun was orange, maybe that's how it would be.

There would be too much orange in the scene. I don't really want to stand out so I'll make it pink, although technically orange would look better compared to that blue, it doesn't look better overall. scene because I want it to be a unique color that isn't anywhere else, which is why there are many color groups in color theory. I actually made a whole video on color theory, if you want to watch it too I'll have the link somewhere on the page. The screen on color theory and color theory definitely plays an important role. You can also change the saturation of the colors, if we only want to change the saturation of the entire background, this will make the foreground stand out much more, or we can also scroll through the tones. maybe we want to make the background a little cooler and the foreground a little warmer.

There are a lot of things we can do to separate some aspects of the image and break it up and draw attention to different areas if you want to attract attention. in one place make it much brighter and saturated and then make it D saturated and dark if you don't want to look at it and now for our final section which is the story so I'm going to draw two frames again and we're going to show you how the composition and the content within your composition they may imply a story about it, so here we will draw a super simple scene, a couple of sand dunes, a little person standing in the middle of the sand dunes and then a sun, very simple but giving us a kind of instant vibe of what's going on and I'll recreate the same scene in exactly the same way.

Is that a difference instead of the person in the middle, they will be on the right and they will point to the left and we will be walking, so that changes the scene a lot and it's like a small difference, but suddenly we have a little story instead of just stay there, they're actually moving to the left and you say why. If you're moving to the left, maybe there's a nice distance just above the sand dunes and that's what that person is walking toward and obviously I'm drawing a real Oasis here, but even if you didn't have that strong distance, it would actually be implied. a little bit of story and it was literally as simple as moving the person a little bit and making them look in one direction, you get a totally different story in the scene, so just moving elements around can change a lot of things about your story. and then if we had that person turn around and walk away, then instead of walking towards the Oasis, they walk away from the Oasis, like why are they doing that, you know, that looks pretty good down there, what makes them leave Tibet falling .

Tell the owners of the Oasis what's going on and suddenly you've created this whole story of possibilities and things just by movingthis person and it's really that simple. There are many things you can do. We simply have the position of the elements to create. There are many stories, so I will do the same thing again. I'm going to create another scene, but this time we're going to focus on the content, that is, on the content.scene, we're going to give ourselves a list of content, so we're going to have some buildings, we're going to have a little car that looks like a cloud.

I hope we have a person, a path, of course, and a tree, pretty easy content. I know Vanilla, I guess, so let's start with scene one. Let's draw a path. This will have a little more perspective. I guess I want to be a little closer to this car. I'm really bad at drawing cars, so yeah. give me a little bit of yes, be kind, very kind, so here will be my terrible car and it's going down the road, so we don't really know if it's moving much, I guess from this perspective and from the angle that makes you think that It's kind of racing down the road very fast and it's giving you this story.

I would just buy that little thing just adding a little perspective. You are at the front of the car. You are lower. Give the story. Okay, you can. it's a racing car, it has a spoiler, so it's probably a racing car, it has a nice, happy driver, there's a person, let's draw on our buildings, let's draw on our tree and then we have a scene with that content now on Right, I'll follow him. the same line of action, I actually copy that from the left side and the same kind of perspective, but then I take out the camera and lower the perspective to get the same angle, but then I lower the perspective and more or less zoomed in as if I were standing still on top of a building looking down at the same scene and although it's the exact same content, I moved the driver so he's now standing on the wall instead of the car, it's the exact same content in almost the exact same layout but you can tell a totally different story with the same content and this is all a matter of composition, so instead of a racing driver driving down the road and there could be a tense action scene, maybe on the right this could be a opening scene. for one shot, so maybe this is a movie and you're actually trying to get a feel for what this city is like and it starts with this guy and he parks his car in front of a cafe and then he goes and gets a coffee and this is basically your opening scene to say, okay, he's in a city, he's standing next to his car and this is what it looks like, there's not a lot of style or emotion, it's a pretty standard scene, but now what we do.

What I'm going to do is change the implied story and change the style and emotion of this image on the right a little bit by using color and shading, so I'm going to go with a stylistic approach that I'll follow. kind of a jewel toned color scheme and let's say it's going to be sunset so there will be big shadows cast by all these big buildings and the person will be standing on the wall half in shadow half in light and the part where I love you The thing to look at in the scene is obviously the person and the car, so they will be in the light and then the rest of the elements will be in the shadow and the lights from the Sun cast a nice orange light on the important parts and this.

This is how I use color to direct the person to look at what I want them to look at. I'm also just using it as a tool for my color scheme because it looks great for color scheme, these kind of opposite colors. with the teal and the orange and it gives it a stylistic approach, okay, suddenly it's sunset, it changes the story, suddenly we have a little bit of a stylized art style for this image, this kind of jewel tone effect and it creates a completely different story now could be something like a sci-fi movie and it still changes a lot just by changing the colors and then if you go back to the left, let's say we'll make the car pink.

You know, it has green wheels and it basically makes it a little brighter, a little more punchy, a little more of a different color scheme, but then come on, okay, I still want the car to be the center of Tenshun, so let's do it. let the whole background be a bit D saturated let's make the road gratin with just simple gray colors, we won't do any kind of bright colors on the road anywhere, same with the buildings and the tree and everything. I'll just go with some kind of standard gray brownie. The colors for the paint on the buildings make that a little bit lighter color and then also for the background I'll choose maybe a blue something like that for kind of a dark desaturation of the blue because we want this car to stand out, we want this.

The car is the focal point of the image, the rest is just kind of in the background, you might not even look at it, there could be a chase scene in the movie and although these two images have exactly what same. content in them or almost exactly the same content on the left all you're really focusing on is the car and that's all you're thinking about and on the right you're thinking about this whole scene and you're thinking about the story behind it in the time of day and then the left you're thinking about or how fast this car drives, what it leads to where it drives from, well that's a cool car, I like coloring the car, it makes you think about totally different things about colors.

The style implies totally different stories, but they all have exactly the same content and that's how much you can drastically change your idea about the images based just on the composition and what the actual content is within that composition, so before you Wow, I have one last one. challenge to all who watch. I'm going to draw this quick scene here, I'm going to speed it up and this scene is going to consist of three key elements that I've talked about in this video and I want you to write in the comment what the answers to this are now, one of them depends a little bit on your own opinion, but there are definitely right and wrong answers, so the challenge is that there is a color scheme or group of colors within the scene that definitely affects the way you look at the composition.

I actually talked about this exact color scheme earlier in the video. Next, I want to tell you, I want you to tell me what the story is, give me your opinion on what the story is in the scene and lastly, I followed a rule here, I followed some kind of composition rule that I talked about at the beginning of the video, tell me what that rule is. I would love for all of you to tell me those three types of key points in the challenge because they will really make you think about composition and make you think about the world around you and what it's made up of and how to take better photos and how to make patek games and taking better videos or whatever you do, this really applies to any artist, any creative that's doing. visual work graphic designers web designers anything you need to know composition obviously there's a lot more than what I just talked about in this video, but that's all I could include in a short moment if you like this type of content don't hesitate to subscribe I do graphic design videos I make game design videos and all kinds of different things on this channel and if you liked this type of video I have also created color theory for newbies and photography for newbies so if you are interested in them please do click on the screen or go to the description or wherever I put the links and go check them out so as always everyone have a fantastic day it's been Julian or the graphics flow here see you.