This video is going to be about composition specifically as it pertains to creating your own inventive images, landscapes, whatever. The director's assignment is going to be more about landscapes, but you can apply the concept to basically anything. The first thing that you do is start to look at some images and one of the best things you can do is go to the museum or open an art history book and start copying, start getting influenced. The first thing that you want to do if you're studying a landscape, say, is draw on your horizon line. This one's probably a little bit about maybe 40% of the way down. It doesn't quite break up into thirds, but it's not but it's not quite 50%. From there, you're using simple basic tools. You don't want to copy the whole image. Your basic tools for composition are triangle, rectangle, or square, and circle, and everything's going to come back to that. So you're going to kind of over-generalize it first. Here, just below the horizon on this particular image that I'm studying, there's a triangle that kind of arcs down and there's a slight arc that modifies this triangle. You can change the triangle's nature by arcing the point. The circle's mostly going to be used as a modifier. Then there's another one that comes from basically just above that. We're not quite at the horizon and arcs down a little more slowly and goes all the way down towards that corner, but doesn't quite hit the corner. Then to oppose that, there's a small triangle that comes out over here. There's a rock in this landscape, which is basically a square. It's like a little sub-shape that breaks out and over that area. Then looking really large, just above the horizon, barely. There's another downward curving arc that goes over and intersects here. Then behind that, there's a bit of a mountain here. Then from here, there's a mountain road. This road basically goes back right here. Then's around. So that goes that triangle. Then that hill from that road comes down basically another triangle. Then from here, there's a huge body of water that arcs around. Almost touches here. It comes back. It stays just below the horizon and ends over here. Then in the background, you have what I assume is Mount Pizuvius, the volcano, basically a triangle right here. Then a very small alcraping, another little triangle right there. Then there's a building in the town that goes right here. It makes a little blocky square that overlaps some of the water. The first thing to do with compositions is to simplify, but not over simplify. What they did in the 20th century was they took these things that were happening in the 19th century and made abstract paintings out of them. More or less because you're only ever working with the same set of tools, they just sort of oversimplified. By the time you get it to the 20th century, you do this. You do this. You do this. You do this. And you create an abstraction, right? Even more radically in the 20th century, you could reduce it even further. You might have abstract compositions like that, right? The next thing to do is to come up with a value plan. You've got all of these sorts of things. And then what I like to do is do another one. I want to remember where the compositional lines are. So I don't necessarily want to do the value plan on the same one. Just do a quick generalization. And the trick to this is to squint, right? So basically I have a foreground element going all the way over here. And then I've got another element here. And then the horizon and all the information over here. I can simplify that down. And the foreground plane is quite dark. It's not absolute black. But if I squint all the light disappears, all the detail disappears. And I'm basically working in darkness. Then right here in the middle ground, I have a medium value. Background I have a light value. And I can come back and make sure that I've divided those up. I can make some lines. I'm just studying, right? I want it to be super careful with it. Background is white. So basically I have a four value plan, right? Dark, medium, light, and white. And that kind of gets me to this composition. Then what you can do is you can take this composition and replace everything and do what you need to do with it. And I think this is where it gets kind of fun. This is where you can take your compositional ideas and steal them and do different things with them. So you could turn this into a landscape. You could turn this into a portrait, figures, whatever you need to do. All using just shapes. So our particular purposes is to use this as sort of a landscape thing. And you can replace everything in here with your own sort of sketches. So the path is up here and on the left. But you, we'll re-sketch the landscape just a little bit so that we have our compositional division. So we're not getting too far, right? Basically we have that sort of thing that we've got an arc. I'll bring it around. So you can say, well, you know, I don't want to be this far back from it. Let's say like this is this arc is really a hedge. That hedge is a couple of you tall, right? And there's a pathway coming around that hedge that leads around and down. We'll flip that. Bring me out the page. Then maybe there's some rocks or some more bushes on either side. Maybe there's a tree over here behind or a bush. Maybe there's a big tree back here. You can widen that pathway as I need to. Make it quite large. So it looks more believable. Then I can put like, you know, more shrubberies back here. I'm not going to need to figure out what I need, what I can do here. I can do another series of plants in the corner. I can, you know, I've got this diagonal line so I can do like a diagonal row of like plantings that go back in space. And then back here, I could do anything. I could do like a forest wall back here in the background. I could do mountains like that here. You could do buildings. You could be in a park or something like that. And so on, right? That doesn't really matter what you do from here. But that you're just using this as the basis, right?