Craig Mullins, Part 7: Edges
ฝัง
- เผยแพร่เมื่อ 30 ต.ค. 2018
- Craig Mullins isn't so much AGAINST edges as much as he doesn't feel they are as important as shape, value, or other aspects of art. This might come as a heavy blow considering that most of us learned art in the first place using hard lines. In Part 7 of this mini-series, Craig explains why artists get into edges too quickly, what artists should consider instead of edges, and when should edges be properly deployed.
DIGITAL PAINTING WITH CRAIG MULLINS
www.schoolism.com/school.php?...
BOBBY CHIU
Instagram: / digitalbobert
I've seen the full Mullins course. It isn't for beginners. They are great for people to take their stuff to the next level of understanding or possible direction (not everything he says applies to every one / style) . But if you understand what he talks about it's extremely helpful. Again, not for beginners. The guy talks mostly in the deep end of principles and concepts.
These videos help me with my drawings and paintings so much
Shape and value before edges - sound advice! It seems like cool edges are the icing on the cake.
thanks for uploading these.
what is a edge other than a combination of well defined shapes, line & in some case blends?
I think good use and understanding of edges is where (or when) you start to see what choices the artist is making. A subtle way of showing what is important and what is not. Of course one could say the same of all the elements of composition, but I think as edges are sort of more a finishing touch than the structure, it really obviously shows on a good foundation.
Thanks for sharing this clip. :)
Thanks for watching, Aaron :) -Nancy
ive spent so many hours looking at mullins paintings thinking 'how the f does he do it?'. these videos are like crack to me.. i'll definitely be buying a subscription when i can afford it x)
"edges are not important, colors are not important, (...)"
me, an art beginner: "WHAT IS IMPORTANT THEN!?!?!?"
I've watched his course sometimes... So to answer your question: According to Mr. Mullins the important thing is LIGHT AND SHADOW to create SHAPES.... With this 3 things, color and edges are secondary in importance.
Bobby here is talking about people learn edges later and craig is saying you are right. People start learning about edges really fast :D anyway great videos .
Thank you! :)
this was an eye opener for me :) I thought I sucked because of my poor edge work
Great to hear you found this video helpful!! :) Thanks for watching!
~s
@@BobbyChiu hehe thanks man! really appreciate what you are doing
By edges it sounds like he means hard edges exclusively. Probably the best approach is to start with soft edges all around, then choose where to make them sharp
I always do the other way round, I start with sharp edges and then choose which edges to make smooth. Thank you I'm gonna try the opposite!!
I think Craig would probably say the opposite. Hard edges hold you accountable to designing interesting shapes rather than pushing paint around. Soft edges can become mud very quickly and hide the shortcomings in the structure of your drawing. With the correct values, hard edges can describe even round form too. You can always come in later and soften the edges you want. It's a much harder and less forgiving way of working for beginners, which is the point. However, Craig would probably also say don't follow any formula or rules, so take my opinion with a grain of salt hehe!
@@Peter_H_Art yeah, I agree with your take. He literally says in the video "The graphic shape comes first [...] length width and direction comes first ... THEN the edges" saying that the graphical shapes are "where the beauty is" and only worry about edges after you've nailed that, citing graphical artists as an example that don't bother with edge variations at all while still producing beautiful art and his own art upbringing with gouache, where drawing clearly defined shapes was the whole point.
Off topic but does anyone know how much 3D Craig uses?
what does he mean by painting graphically and there being no edges? What is graphic painting?
see Yun Ling on artstation
I am not a native English speaker and now I am confused! What is an Edge? What is Craig talking about? What is graphic? In my mind, either he is talking totally opposite of what I understand these words mean or i am missing something between the lines. Last time similar thing happened was in Maya ; "you can't see your render because your normals are inverted." and the reaction was "everything looks normal, what the hell is normals?" so is that happening here? Aren't edges the most 'graphic ' and definitive outer part of a shape? Where it meets the rest of the world. Help me please. Thanks
I think what he meant by the edges was the outline of an object.
The point he was trying to make(at least this is how I understand it) was to draw the shape of the whole object instead of focusing on the edges(outline) of an object.
Paintings when broken down are all shapes, but since a lot of us started learning art by drawing the outline(edges) of every objects, we think of it to be more important than shapes.
But this is only how I interpreted it, I could be very wrong about what he said.
Yeah. Totally confusing. And the examples he was giving on screen were all hard edges art and he was talking about "no edges". Bobby please help! We are loosing our edges here.
@@codysoh2338 Unless I'm completely mistaken, I think what Mr. Mullins is saying is that as you learn to draw and paint, you start to emulate what you see other (more skilled) painters doing. In art, the edge of an object is usually the area that defines the shape you're painting or drawing. In line art, it's likely to be the outline (this would be a sharp edge), but as you add value, you open up the possibility of smooth edges and gradations. If you look at 4:18 in the video, you'll see that the top image strictly consists of hard brush strokes. These would be HARD edges. The bottom one is strictly faded or gradient brush strokes. Those are SOFT edges. There is also the concept of LOST edges, where you let elements of a drawing or painting fade into one another, such as the shadow of a face fading into the background, without any clear line (or edge) separating the two.
My guess is that when Mullins speaks about NO edges, he refers to no edge manipulation - I E, the image at 2:52 as well as 2:58, where you'll notice there are only sharply delineated FIELDS of colour and value, rather than lots of fancy gradients and transitions. They're not using the TOOL of edges to make those paintings - Rather, everything is treated equally in terms of how you approach the edges. Everything is hard-edged, but the paintings still read perfectly fine.
@Ilgar and all. Whatever you guys are saying is only supplementing and correcting in your own mind what you think and believe are the right words to use.
I, on the other hand, is saying that yes, you are right, but Mr. Criag's words as he is using them ( the meanings and concepts of those words I hope the rest of the world, understands) are opposite of what he should have been using.
I think in his creative mood, he is not using the terms completely and using them very casually.
He is a grandmaster and he knows his stuff and I don't mind Craig messing up words or not using them without prefixes of LOST and FOUND. or using the word GRAPHIC for things blurry and with lost edges.
my request to Bobby is that he should sometimes supplement some padding pop texts whenever some ADVANCE level of discussions are posted in a CHIU stream where listeners can go 180 degrees opposite directions if they are not already familiar with the topic.
I just re-read the description of the video. I can understand that completely and perfectly what is meant as it is written.
but Craig was using terms too casually. I hope he understands that there may be some poor minds who would go bonkers after listening.
Bobby, Love your videos. do not mind me here.
( Craig and Bobby, with apologies)
I think this is similarly discussed here.
th-cam.com/video/FPz8Xyt3z-w/w-d-xo.html
@Ilgar I think what Craig was saying and showing in the examples was the point that we should not approach an artwork with a checklist. ( still-life scene, for example,, A ball, a ground, a box, a cube, etc) but we should only approach it via only values and color grades. NOT SHAPES with names. but only blocks of value that when seen as a whole can be called a WOMAN (like this 3:02 ) or anything the artist want. but do not make a contour of an object and fill it up with values and colors. whew. still, this is just what I think he was trying to say..
I thought Mullins were an old man with a beard🤣🤣
Surprise!! Haha, no beard! :)
~S
what is the "edges" ? i don't get it
separation between forms and shapes
BRUh I just want to learn when its a hard and when its a soft edge but nope now im listening to this guy telling me edges arent that important I still want to learn them to paint semirealism idc that they arent everything
okay angry man calm your horse