12-17-2013, 10:24 AM
Jake!
![[Image: PO-11.jpg]](https://dl.dropboxusercontent.com/u/1614971/Crimson%20Daggers%20sketchbook/PO-11.jpg)
I hope you don't mind the paint over and I hope this helps!
Remember Dan saying that composition is all about implying lines? Took me a while to figure that out, but the implied lines happens when you read an image. Those paths you take are the lines people are talking about. So, in dynamic compositions, try avoid standing people; Shift them a bit - either in stance of by shifting the canvas or even hiding the straight stance with a cape! Anything that break the visual flow and makes a diagonal or a curve. Things like swords can read as arrow or as a simple flat line - and they flat lines are powerful but they are also slow; It makes everything stall, and it's not what you're looking for in a moment of tension.
So make them point to the camera - suddenly it's not a line anymore, but a pronounced shape. This also makes the depth illusion of the image read a bit better.
In general, avoid making things parallel to the camera. His whole arm holding the sword was very parallel to the camera and no connecting to the head on the foreground. Don't be afraid to push the shapes! Make the sword at a real, decided angle. It will make it much more stronger.
You can even make the other (the resting) hand smaller, just to make the hand in the action look bigger and push the depth even more.
It's an awesome piece, full of potential.
This is just a suggestion, pretty sure there are other awesome routes to be taken here. Don't be afraid of pushing it! As a teacher of mine say it, Push it till you break it. Now you know when it breaks, and when it's awesome.
I hope you don't mind the paint over and I hope this helps!
Remember Dan saying that composition is all about implying lines? Took me a while to figure that out, but the implied lines happens when you read an image. Those paths you take are the lines people are talking about. So, in dynamic compositions, try avoid standing people; Shift them a bit - either in stance of by shifting the canvas or even hiding the straight stance with a cape! Anything that break the visual flow and makes a diagonal or a curve. Things like swords can read as arrow or as a simple flat line - and they flat lines are powerful but they are also slow; It makes everything stall, and it's not what you're looking for in a moment of tension.
So make them point to the camera - suddenly it's not a line anymore, but a pronounced shape. This also makes the depth illusion of the image read a bit better.
In general, avoid making things parallel to the camera. His whole arm holding the sword was very parallel to the camera and no connecting to the head on the foreground. Don't be afraid to push the shapes! Make the sword at a real, decided angle. It will make it much more stronger.
You can even make the other (the resting) hand smaller, just to make the hand in the action look bigger and push the depth even more.
It's an awesome piece, full of potential.
This is just a suggestion, pretty sure there are other awesome routes to be taken here. Don't be afraid of pushing it! As a teacher of mine say it, Push it till you break it. Now you know when it breaks, and when it's awesome.