Ugolino's Room of Narcissism
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    Ugolino's Room of Narcissism

    It's been a while!

    Currently working on something to toss in my portfolio. Thought I'd come here as I work on it.



    Name:  Ugolinopart1.jpg
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    Last edited by Psychotime; February 2nd, 2013 at 06:53 PM.
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    The composition would work better if you placed the character on the left side of the image and vases on the right. Is the chair sitting on a mattress?

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    Quote Originally Posted by Avvatar View Post
    The composition would work better if you placed the character on the left side of the image and vases on the right. Is the chair sitting on a mattress?
    Can you elaborate on that first one, please.

    ...Mattress? Oh! I see what you mean. I was planning on having the chair sink into a rug, but it's not looking right at the moment. I'll probably have to change that once I get to the floor. I might not turn out how I intend it.

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    The eye reads from left to right so place your negative space on the right side instead of the left.

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    Quote Originally Posted by Avvatar View Post
    The eye reads from left to right so place your negative space on the right side instead of the left.
    That depends on the culture. Not all cultures read that way.

    Is there any more to it than that? Because I honestly don't see that as a viable reason to switch it around. Are there any compositional issues?

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    Yes, the teapot etc is huge and dominates the picture, dragging my eye away from the figure who is, I assume, the focal point?

    Cheers

    D'Arcy

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    Yes, the teapot etc is huge and dominates the picture, dragging my eye away from the figure who is, I assume, the focal point?

    Cheers

    D'Arcy

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    Negative space is a compositional issue so yes.

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    While I agree with justa, it all depends on your lighting in the end. I agree about the composition part with Avvatar, yet the same goes here as with justa's comment - it depends on the dark and light tonal masses. So if this guy is in a spotlight and the rest of the room is toned down or gloomy then it should work like a charm.
    Then again from your line work I see a very certain confidence and I believe you'll pull it off nicely, haha. Happy New Year!

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    While I agree with justa, it all depends on your lighting in the end. I agree about the composition part with Avvatar, too, yet the same goes here as with justa's critique - it depends on the dark and light tonal masses. So if this guy is in a spotlight and the rest of the room is toned down or gloomy then it should work like a charm.
    Then again from your line work I see a very certain confidence and I believe you'll pull it off nicely, haha. Happy New Year!

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    Update.

    Been messing with this on and off.



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    Cut a section off from the left - halve the tall teapot and the composition would improve a lot - it's too busy that side. Back leg of the chair needs to be a tad longer to match the line of the arm of the chair - also the one on the right - or you could shorten the middle one.

    It's one lump of sugar and don't skimp on the cream.


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    Actually, you can probably improve the composition just by turning his chair to face into the picture. Although him facing out does produce a definite impression, which might be what you're going for. Also... why is the jug handle overlapping the chair when the cues on the ground show that it's actually quite a ways behind the chair?

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    Quote Originally Posted by vineris View Post
    Also... why is the jug handle overlapping the chair when the cues on the ground show that it's actually quite a ways behind the chair?
    Those teapots are actually in the foreground, intended to be sitting on a table. There's a rough drawing of said table in there, but I can see how it's easy to miss at this point. My fault.

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    Quote Originally Posted by Black Spot View Post
    Cut a section off from the left - halve the tall teapot and the composition would improve a lot - it's too busy that side.
    Ok, before I continue (and fix the teapots a bit, along with the chair leg you pointed out), you mean like this?

    Name:  Ugolinocrop.jpg
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    I don't know.

    I guess this is a case of me wanting to hold onto the teapots because I put so much time in them, more than any other part of the drawing, actually. But at least I'm aware of it.

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    Almost "done." The whole blur thing was part of the plan from the get go, but if need be I can get rid of it.



    I notice a jarring spot in the bottom right. Looks like I'll have to crop it some more.

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    maybe try experimenting something along these lines
    if tis a room of narcissism shouldnt there be more reflective surfaces and things to act as mirrors?
    Name:  dfsdfsd.jpg
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    Name:  dfsdfsd2.jpg
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    Last edited by Velocity Kendall; January 16th, 2013 at 02:52 AM.
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    That would be interesting, Kendall, but I must admit that if I go that route I'll have to make sure it forms correctly around the character, and I'm pretty much tired of looking at this thing already. I just want it to be "finished".





    Are there any glaring issues?

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    nah, stuff like tetures on shirts and shadows can be fudged. so long as it reads its fine.

    in any case my main point as breaking up the image into dark areas and light ones. atm its got a lot of bright jegged shapes with black edges, theres a lot going on making it read a bit fussy and noisy. the wall by his foot is the second brightest area after the big bright tea set. where do i look first.. youre not directing the eye powerfully enough with values, i guess.

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    It makes much more sense with the table there. I don't like the blur on the teapots. Eyes focus automatically so I usually find fake camera blur kinda annoying. I also think they should be darker -- either them or the chair and the carpet. As it is now, the majority of the picture is too close in value. The teapots stand out against the shadow, but the chair, Ugolino, the wall, carpet and teapots are all one relatively light mass.

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