March 2013 Video tutorial: Creating Neon and other Noble Gases

[Gare]

Let me make a general suggestion: Contrast, the difference between two things, is an artistic element, and it can work for you, or against you if you can't see it or change it, or play with it.

Now, in the video, I used a dark background so people could clearly see the glow effect, light against dark, as it were. And probably, to show off a labor-some rendering of neon, you'd usually want to use a dark background.

But there are degrees of everything, aren't there? Low contrast images can be beautiful because they can tease one's eye, almost, but not quite revealing a design. A classic example is the Mona Lisa. She is calm in the foreground, yet there's a very active waterfall in the background many people never take note of. Because the contrast between action and inaction is a subtle one and today we see a washed out sepia background, further making it a subtle background contrasting element.

I like the second composition better, because the texture of the cactus is there, but not overwhelming and it doesn't fight the lights you created.

Overall, you have more visual complexity in the current comp, and there more interesting stuff there is (well-composed stuff!) in your work, the more there is for the audience to linger over, right?

-g

[stygg2003]

Thanks for the feedback Gary. Two important things then, contrast and balance. Taking that onboard, I decided the stars were to much so changed to balance with the rest of the cactus. Sorry to drive you mad with this image but it is a interesting image in that it can be made pleasing with the neons and glow and yet add a shadow figure and made a little sinister leaving the viewer wondering who it is and what are they doing there?

Stygg.

[Gare]

@stygg—

I'm very, very pleased you're getting into this and exploring.

++++++++++++++++++++++++++++++++++++++++++++

This is such an important topic—balance—that I might re-post this later if the topic comes up again.

Like most things, “balance” is an equation best approached artistically in degrees; there’s “balance” in a symmetrical composition, but I personally feel this gets old real quickly if all your compositions are balanced in a traditional way all of the time. “Balance” can also be achieved by taking contrary items and making them live together in a single composition. I’d mentioned the calm Mona Lisa contrasted against the very active waterfall behind her earlier as a method DaVinci used to create dynamic tension in the painting the longer the audience looks at it.

You’ve hear of “opposites attract”? Well, that’s both a domain of Balance and of Contrast! I’ve got an image here with two compositions. Now, which one is more visually interesting and why? The one at left has two equally sized circles of the same color, aligned horizontally, and you know what? Big yawn here, as far as Art goes. It’s balanced, but we can do better, as in the image at right. There are contrasting shapes living dynamically within one composition. Blue contrast with red, large contrasts with small, upper left opposes lower right.





I think the photo I donated that you’re working with has good balance and contrast. The large squarish building at left, the tall skinny cactus at right. The asymmetry of the elements is interesting.

My point is that balance and contrast shouldn't be completely in agreement or necessarily harmonious, unless it’s your intention to create a relaxing, boring home wallpaper that no one studies. Sometimes balance is a struggle; elements fight each other, and you know you have a dynamic piece of Art when the elements don’t resolve the fight in the piece, but continue in interesting opposition.

My Best,

Gary

[stygg2003]

Thanks Gary for a very interesting feedback, especially the last part, when the elements don't resolve the piece but continue in interesting opposition. I've found that a couple of friends of mine who viewed my image, said the same thing as each other, both when first viewed say, oh that's good but eventually get drawn to the shadow figure, so can I say the blends and glows and the shadow figure are interestig oppositions? I'm just trying to come to grips with the terms you have used and putting them into a visual context and the first thing that came to mind was the warm glows look so inviting and then this shadow figure sort of throws you off a little, but it seems to have worked. They had more questions about the shadow than the rest of the composition.

Stygg

[Gare]

Hi stygg—

I'm sorry if I've caused you to do anything other than just try to accept some of the terms—things such as "contrast" can have more than one meaning, but surely not a "mysterious" one!—so let me back away just about as far as possible with describing a piece of interesting artwork here.

One of the "mind games" that is a good and legitimate sport of artists and designers (and musicians and other creatively expressive individuals) is putting things together that seem awkward, or seem not to naturally go together, or just plain pushing seemingly opposing items together. The result if it's done skillfully is a dynamic quality: dark fights light, large fights small, the left disagrees with the right—we can see examples of this all the time in modern art.

Perhaps "fight" should be qualified. When dissimilar items co-exist in a painting, or music, or other art, there is a relationship, a tension, which can be pleasant or unpleasant—the reaction one wants usually is up to the artist's discretion.

The result? It can be a revelation on the audience's part: yes indeed, an elephant would look partially disguised and definitely silly if it were painted pink and green two very clashing (conflicting) colors, as I have here, plus the pun of giving the elephant a new skin ("hide"). This is not the world's best example (I just had it lying around), but hopefully you all can see that there is contrast in this composition—the modeled and rendered elephant put into a photograph has some dissonance, the visuals of large contrasting against small, the asymmetry in the composition—all forced together in an artistic and unexpected way. The result here is humor, not a revelation, but the oddness is a carefully crafted thing to sustain the audience's attention.



Stygg, to remark on the reaction you received—your audience had more questions about the shadow figure than anything else? Me, I'd consider this a triumph and a job well done because you yourself are intrigued with the figure. Your audience is in tune with what intrigues you about the piece, then.

Don't think too deeply about this contrast stuff. Just let it flow and be aware of it while you work, and I hope I'm not sounding like Obi-Wan here! Don't try to explain a piece to anyone.

That's the job of your artwork.

Have a great weekend, everyone!

—Gary

[stygg2003]

Thanks Gary for such an informative reply and as regards sounding like Obi-Wan, well if getting such great replies sounds like him, well may the force be with you : I did'nt have to explain the shadow to any of my friends, they were as you said, just as intrigued with it as myself so yes, I was well pleased.

Regards
Stygg

[Gare]

Okay, back to Neon...



(Hallowe'en, not my street clothes, obviously...)

[stygg2003]

This was not the best image to create neons but it still looks quite effective, I think For all none British guys and gals who may not know, it's a photo of a famouse British Landmark, Blackpool Tower.

Stygg

[Gare]

I love it and can you either post a larger copy so we can see your work more clearly, or upload the XAR file?

Or just post a zoomed-in detail area?

I love it regardless of where it is!
-g

[stygg2003]

It was a bit crappy that first image Gary, I apologise, so here is a better one I hope with the xar file for everyone to do what they please with

Stygg