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  1. #1
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    Icon Rough Sketch for composition - Rampage

    Hey all. What I have here are two different perspectives for an idea I had involving the escape of some large, monstrous engineered creature. Keep in mind that there is really no detail in this, as it is just for composition purposes. Please let me know which version seems to be working the best. I had wanted this piece to be really atmospheric and dramatic, so right now I am leaning toward the view behind the soldiers. I have also included the old version that I have grown to dislike, but it gives an indication of where I want to go with details. Please feel free leave comments. Thanks in advance.

    Attachment 125409

    Attachment 125419

    Attachment 125420
    Last edited by Will_S.; April 19th, 2007 at 01:06 AM. Reason: Changed image sizes
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  2. #2
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    i like the 2nd one you posted more than the first. try even cropping him a bit more? Not showing everything seems to make him feel larger right now the edge of his back is right on the edge of the WIP, maybe tick off another half inch or so down so he's kind of 'too big for the drawing'

    plus it has the idea of the first one with showing the two areas (fore/back).. but more extreme with people rushing OUT and people running IN.. its much more active and frantic.
    fallenlights | gymnopedie (LJ)
    “I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living, it’s a way of looking at life through the wrong end of a telescope. Which is what I do, and that enables you to laugh at life’s realities.” - Dr. Seuss
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    Thanks for the comments gymnopedie! I definitely agree.
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    You're showing a lot of ambition here. That's great.

    Drama is created when the illusion of reality is completed and the picture transgresses the two dimensional. A death rule to watch for handed out by the Disney animators is the rule of twinning.

    Do you see how the figure is straight on with matching limbs in the same position? That's called twinning. It flattens shapes and kills dimensionality. It also removes any idea of motion within the figure. If you look at the human body, it's produced to work asymmetrically; all things that are produced to move (mechanically or otherwise) work this way--to be off balance. That's why I urge you to avoid twinning.

    While twinning can be used when trying to focus on stillness in terms of highly symbolic pieces, it seems like you're going for something dynamic. The reason this piece is interesting is because the dude is not just going to sit there and throw paper airplanes at the soldiers. He's coming for them. That's awesome. So we need to give it life by making it appear sturdy (strong) but movable (scary!). I agree with your choices of giving him a broad stance with broad arms, but play with moving one limb differently in space.

    I agree with Gymnopedie, having the creature take up more visual space in the picture will give him a lot more importance. I think the audience is on the side of the monster. The last picture has this going on so I think you should adopt this type of composition (he takes up most of the piece).

    Good luck.
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  5. #5
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    Adia: Thank you a lot! That was a great critique, and it now has me looking at this piece in different ways! I will absolutely apply your suggestions to my more refined sketch. Thanks again!
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