Week One: Set up and Intro to Composition
Composition is everything! No amount of detail in an illustration or Concept Painting will be successful without a strong composition foundation. Composition in Environment Concept painting can be quite difficult since your focal point usually isn’t as obvious as in a character piece.

Week 1 is an introduction to Composition. We will explore the fundamentals used to create exciting and functional composition along with a variety of composition techniques. Initially we will review a variety of successful composition types including, iconic composition, formal composition, the rule of 3rds, and the golden rule. There will be a description on what makes each piece successful and an explanation on why the artist chose to describe the scene using a particular form of composition. Video tutorials, expansive suggested reading, educational text, and forum discussion are all part of this first week in the Workshop. In addition, to kick the class off, there will be suggested workflow and setup examples discussed and shared. Students will receive a final critique at weeks end detailing their progress.

Advanced suggested reading:
Pictorial Composition: An Introduction -- by Henry Rankin Poore

Week Two: Composition Continued
Composition is so important its actually gets two weeks dedicated to it! Week 2 is an introduction to a few more composition types including; Triangle composition, Radii Composition, Cross Composition, and L composition. We will continue to explore the fundamentals used to create exciting and functional composition. These additional composition types will be reviewed through video tutorials, text tutorials and forum discussion. Once again, we’ll look at a few workflow tips and tricks along the way.

Advanced suggested reading:
Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers by Arthur Wesley Dow, Joseph Masheck, Arthur W. Dow

Week Three: One, Two and Three Point Perspective
It's impossible to draw correctly without the consideration of the point of view, camera angle, and eye level. Perspective along with composition is the cornerstone of what is needed to create convincing and effective concept art...or good art in any application, for that matter. Students will be shown some successful examples of 1, 2 and 3 point perspective and there will be a discussion on what makes each piece work, along with an explanation on why the artist chose to describe the scene in 1, 2 or 3 point perspective. Video tutorials, educational text, and a series of exercises will be given exploring a variety of perspective techniques. Students will receive a final critique at weeks end detailing their progress.

Advanced suggested reading:

• Creative Perspective for Artists and Illustrators -- by Ernest W. Watson Ernest Watson takes the pain out of learning perspective! There are some really great examples of how to use perspective in illustration without getting to “text-booky.” The books is chock full of illustrations to help visually explain everything. I learned a ton from this book when I was a student.
• Perspective for Artists: The Practice and Theory of Perspective As Applied to Pictures With a Section Dealing With Its Application to Architecture (Dover Art Instruction and Reference Books) by Rex Vicat Cole

Week Four: Defining a Focal Point, Lighting/Value Composition,br> Strong Lighting and color is essential to "sell" any successful Environment Concept Painting. Every successful Concept Painting has a defined and well-executed focal point. Without a strong value composition that is constructed to lead the eye to a "payoff" or focal point, a piece will fall flat. Week three is an introduction to Value Composition and lighting techniques. The fundamentals used to create interesting and exciting lighting solutions will be explored along with a variety of lighting techniques. Initially the students will be shown some successful examples of lighting and there will be a discussion on what makes each piece successful and an explanation on the why the artist chose to describe the scene using a particular lighting solution. Upon the completion of course notes and video tutorials, students will be assigned a series of exercises that hone their skills in creating dynamic value composition. At weeks end the students will receive a final critique of their progress.

Week Five: Color Theory
Successful use of color in a Concept Painting is essential! Effective use of color helps describe mood and evoke an emotional response from the viewer. Color is the unsung hero of any successful painting, while composition and perspective get all the attention, its color theory that ultimately ties every great Concept painting together. Week Four is an introduction to Color theory and its application to Environment Concept Art painting. The fundamentals of color theory will be discussed as well a variety of approaches in creating color harmony in Concept Art/Illustration. Initially the students will be shown some successful examples of a variety color theory techniques and there will be a short discussion on what makes each piece successful and an explanation on why the artist chose to describe the scene using a particular color solution. In addition, there will be video tutorials and supporting educational text on the subject of color theory presented. A series of exercises exploring a variety of color theories techniques will be assigned with a final critique at weeks end.

Week Six: Depth, Atmosphere, and Scale
Of course, perspective, composition and color theory are necessary for good picture making but, when an artist has the ability to successfully create depth, atmosphere, and scale, in their paintings, great things always follow. These are the tools that every professional Concept Artist must have to compete in today's highly competitive marketplace, yet, few really have a true mastery of these necessary skills. Week Five explores a variety of techniques used to create depth, atmosphere, and scale. Students will be shown a variety of successful painting examples utilizing depth, atmosphere and scale and will be asked to identify additional examples. . In addition, there will be video tutorials and supporting educational text on the subject of depth, atmosphere, and scale. Finally, students will given a series of exercises exploring the techniques discussed and will be given a final critique at weeks end.

Week Seven: Putting it all together, Final Concept Painting Assignment
So, you've done the exercises, read the material, and listened to me ramble on about various techniques! Now its time to take all you've learned and put it to use. Week six is the first week of a two week assignment were students will begin a painting that draws upon all they've learned in the course. Sketches, value studies, and color studies for final painting are due at week's end. After final critique, students will be given approval to begin final painting.

Week Eight: Final Concept Painting Critique
A finished Environment Concept Painting is due at week's end. Philip will give a final critique on each students painting with closing remarks, defining the successful aspects of the painting, as well as the areas that need improvement. The student's final piece will be compared to the paintings that were sent in by students when they first enrolled in the class to measure improvement.

Level of Ability
Students of all levels of ability are welcome to enroll in this course, however, a basic understanding of the fundamentals needed to create good picture making is necessary.

Students are required to be proficient and comfortable with Photoshop or Painter as that is the preferred digital tools used by Concept Artists in the entertainment industry today.

Students need to be familiar with web navigation and browsing, as well as email.

Students need to be familiar with using a bulletin board system (such as CGTalk.com).

Examples of work
Students are required to submit a minimum of 3 samples of their best work showcasing their ability to compose, light, and render a scene.A minimum of two environment samples is needed and at least one of the samples should be in color.

Software and Hardware Requirements
Students must have access to a machine (PC or Mac) with the necessary hardware to run Photoshop or Painter software.

A tablet is required for digital illustrations and painting

A web browser and broadband internet connection is mandatory to view the video tutorials.