![]() ![]() I think that taking his techniques on board is helping me evolve and improve my composition making, and hopefully will help you in your world too - whether you're a painter, photographer or any other kind of artist. This degree of consistency suggests that Bob Ross’s technique might admit a computer implementation. or river in the foreground framed on the sides by trees. ![]() So the key message from Bob Ross, I think, is to learn the lessons, and apply them to our own work, in our own way. Mann / Automated landscape painting in the style of Bob Ross Figure 1: A rendering of Bob Ross’s painting Forest Hills, created automatically by our system. Rather, he's teaching us how to use certain components, in order to build up an original image for ourselves. As he paints, Ross will often reiterate that he's not intending to coach people into copying his painting. I don't generally shoot in the kinds of national parks he painted, and even if I did, I'd need a lot to come together in order to be able to frame it accordingly. Bob Ross is known for his easy-to-learn wet-on-wet painting style, the use of vibrant color in his landscape paintings, and for his generally calm. I'm not sure I'll ever get any photos which look like Bob Ross paintings. But by learning these compositional concepts, I'm doing my best to train myself to recognise the opportunities in the field, and learning to change my perspective to create a more interesting shot. As a landscape photographer, I am obviously at the mercy of what's in front of my lens, without the luxury of being able to paint in an interesting sky or foreground element. It goes without saying that painting and photography are very different skills. ![]() It can feel a little crazy at the time, but very quickly you see that although it covers some background elements, it does a great job of shaping the image, and engaging the viewer with the scene. But sure enough, Bob will take the bravery test and block in a tree shape over the top of the scene behind. So you already have a scene which doesn't appear to need any further elements added to it. The beauty of watching him put these little rascals in is that they're often one of the last features to be added (as they're in the foreground). Of course, for Bob Ross, these elements are often trees. Eyes are drawn to the lighter areas of pictures, so Bob will very often make the focal point and centre of the image lighter, whilst placing darker elements at the sides of the painting, creating a natural vignette effect. Those same compositional tricks and visual cues can also be deployed to block-off the eye's escape routes, and lead the viewer back into the image. Experienced artists guide the eye towards the subject drawing you in, whilst at the same time adding context using the surrounding features. As people read an image, the eye can easily get lost, or accidentally diverted outside the picture. ![]()
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