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The idea was like, a sad person on the edge of a cliff or something and then there is a really really big snake in the sky. I've worked on it a lot already but I've had to make major changes and that messed the composition up. Also I looked back at one of my older ideas and now I'm wondering why I didn't stick with that composition, it seems a lot stronger.
Drawing anatomy and lightsource all need work. There is no form to th esnakes head because the lighting isn't nailed down. The woman has anatomical problems; her leg from knee to foot is too short. These things should be worked out in the drawing stage.
Thanks. Yeah the figure sucks because it was a quick replacement for another one that wasn't working. And, um, I have no idea what the lighting should be. I guess I should have figured that out beforehand.
Last night I decided I hated what I'd done and started over, going straight to painting to see what composition developed, but I don't like this direction.
And then later I went back to the old one and started moving things around.
But before I go any further I will work on the things you said.
Hmm I'm not sure how I feel about the giant snake's head just coming out of the sky, it could easily end up looking very detached. Having the whole snake in the sky and coiling around might be interesting but that kind of composition might be kind of advanced for you at this stage.
"This is a paint and pixel-splattered furnace that forges the swords of artistic mastery. This is a place where swarthy and belligerent dwarves drink turpentine mead, berate their apprentices and slap the trade into their skulls. It's where the anvils are made of graphite, the hammers are as true as rectangular marquee selections and the fires burn with the light of a thousand lensflares." --Jason Rainville
I've fully intended to put more of it in there since the beginning, I just haven't gotten that far.
oh god I'm having commitment issues
The problem is that you've picked a camera angle that doesn't let you see the cliff. There's no real sense of depth or danger to the girl so it just looks like there's a snake coming out of the sky and she's not looking at it.
You also need to think about scale and drama.
Now... what's the important bit here? What do you want people to focus on? The cliff? The snake? The woman's emotional state? I'd do a bunch of different thumbnails from as many camera angles as you can manage so you can pick one that emphasizes something important about this pic. Try bird's eye view, worm's eye view, from the side, from the front, fisheye... whatever you can think of.
Although I have to say that the mustache has a lot of charm. Maybe you just want to draw a snake with a luxurious mustache and monocle.
I agree with Vineris here. Given the scale of woman to snake, this could have a much more emotional read depending on camera angle.
I honestly liked your second composition from the first post:
a) there's immediate sense of fore/middle/back grounds
b) there is a sense of depth with the snake's body hanging in the sky, as opposed to being detached. Where it is now kind of reminds me of when the sun is stuck into the corner of the paper in grade school - not to be rude, just brought it to mind!
c) we get the sense of height and the cliff environment from the background details/atmosphere moreso than current compositions, where it appears as though she's sitting in a field.
EDIT: d) also, I think your colour palette is a lot more emotionally telling than the current one.
Anyways, just suggestions