This is so helpful and in depth oml. Reblogging this for if I ever decide to put some braincells in. I can only hope.
How do you come up with your compositions? They are so cool I wanna know if you have any huge inspirations :-) your art is so lovely
Hiiiiiii! Awww thanks for the appreciation!
I'm actually working on a more comprehensive art tutorial rn (bc someone asked here earlier), that would include composition, but I'll do a shorter answer first for u bc you're asking sth. more specific ?( hope it's okey (❁´◡`❁))
(Oh and also I've seen ur req! don't worry, I'm doing that as well, it's just there's still some before yours( ´・・)ノ(._.`))
Um and when the long tutorial is out, feel free to check that out ~
On Composition:
Goal
For me the goal of my illustration r Storytelling n full on Emotional experience.
(It's something I've been trying to achieve but cannot guarantee I hit it all the time, sometimes bc of my habit I'll lost myself during the process and looking back find out I miss something important, so the following is the best theories I could provide. Most of improvement r still in daily practice(●'◡'●))
To paint with beautiful compostion, you'll first have a solid story in mind, it can be simplified into " who when where n what", writing them down on a note n stick it near by would help.
And as to emotional experience, is something I can't get hold of all the time... music might help I guess? I have headcanon playlists for every chatacter or ship I wanna paint, and extract emotions from them everyday.
But there's some practical methods too.
Methods
I've worked storyboard n director for 2 years in the past, even though I'm not proud of the projects I worked on, some knowledge might still be useful.
It's mostly 2 methods: Silhouette & Movement
Well for silhouettes there's already bunch of books discussing this, one of my favs is Framed Ink, I'm sure u can find a pdf somewhere on the net.
(I find this photo on the internet bc mine is not around)
Basically it's that, think about the objects within your image, by using shadows n their original colors, you can split it into interesting shapes. This will visually elevate the overall feeling of composition.
Also, there's a cheat build in humem's understanding of an image.
basically this, putting important object on the 1/3 points of an image is the fastest cheat.
Also, contrast your silhouette. If you're painting sth that has no background, try giving your silhouette a constrasted design.
(like in this one, the right side is smooth but I'm putting lots of variation on the left.)
For movement, think about your image as a shot taken when your characters r doing sth.
They would each have a direction to move to, and that forms their movement. Your job here is to arrange them into logical or emotional lines.
If it's a series of work, u can plan out the movement toward the same direction.
(the only time you're seeing their car facing left is when they stopped, I was trying to say that their trip kinda ends here)
Also for manga, comic n movie, make sure your important information is within safe area.
(the area within dotted lines is the safe area, u want your character's expression to be mostly within it. if it's like extreme close-up, the certain area u want to emphasize should be within it.)
I have some examples for these two theories.
First let's analyze this screenshot of one of Kurosawa's film, Seven Samurais.
The story here is that these guys r about to fight, possibly some big conflict. There silhouette can be sumed up like this, within the orange line.
We see this guy sticking out from this shape, implying he might be the head of this crowd.
Movement wise, their spears n heads face the same direction, telling u that the enemy will come from that side. Even this is a still frame, the movement is implied perfectly.
Another sample from Synecdoche,NY by Charlie Kauffman
This is a minimalist way of conveying emotion, u only see one main character here, and hardly any movement. Why is it so powerful?
Our main character, Caden, is in the almost center of this shot. He has a clear n simple shape. You don't normally put your main object in the center, so we'd assume he's very important.
Then there's this repeated notes in the background. When something is repeated a lot, it giver u an impression of pressure. Especially when he's surrounded by them, and they take more space within the frame than he does.
Also, this is a down shot, the camera is pointing down and behind him. You'll feel your character being watched or at his lower point of life when u do that.
Inspirations:
Movies mostly, and traditional artists.
Back when I was in film school I watched a bunch of movies n that slowly became a habit, movies r very good sources for ideas.
Even if you're not having enough time, watching reviews n analysis would also help, (but I'd suggest u try to consume the films not listening to critics to get a unique experience.)
Some of my favourite directors are:
Kelly Reichardt (First Cow)
Apichatpong (Tropical Malady, Memoria);
Charlie Kaufman (Synecdoche NY, Adaptaion);
Satoshi Kon (Paprika, Perfect Blue);
Kurosawa Akira (Yume, Kagemusha );
Edgar Wright (Shaun of the Dead, Hot Fuzz );
Kusturica (Black Cat White Cat, Underground 1995);
Carol Reed (The Third Man)
Errrm I hope it's helpful? (❁´◡`❁) The next tutorial is gonna be even longer.
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I feel like Butters would read this and go- "aw shucks... that's mighty grim, but I suppose if the little sheep finds happiness that way and not frollicking in fields and stuff that's okay. Jeez I'd hate to love getting hurt, man that'd really suck, poor thing..."
Kyle would probably get tears in his eyes in angered grief and go on a rant about how someone needs to teach them that they need to stop being content with and rationalizing their brutalisation and victimisation(his logic has bypassed the fact that they are a lamb) and will do everything in his power to make sure think so to(in his mind for your own safety) and don't share their viewpoint. He goes home to mald and research malicious religious practices; maybe deepdives into the implications of circumcision and has an existential crisis for a bit
Stan is confused about the religious subtext but starts bawling his eyes out blubbering "wtf-! That's so sad-! That poor sheep...! That poor sheep...! They dont know..! Is that what they all feel?" He vows to never eat lamb again
Cartman is the one who showed this to the rest of the group. He actually just finds it mildly funny and vaguely likens himself to the priest in his mind, but anticipated greatly entertaining responses. Anyways he proceeds to pointedly pack lamb chops along with his usual lunch which he eats every day for the next week at school, chewing loud and slow, making a point to always offer some to Stan.
Kenny gets even quieter than usual. He doesn't make any sound at all for a while. Contemplating. Eventually he shrugs and carries on in typical Kenny fashion.
i'm literally the priest's favorite sacrificial lamb because i am so docile and sweet and i hold very still when they put the rope around my neck and i trot along so happily while they lead me to the altar and they do not even have to tie me down because i lie so very still and only bleat once or twice in my lovely lamb voice and when the knife comes down it cuts through me like butter and i offer no resistance and i bleed so prettily all over my new white wool and my guts all unspool like the most beautiful shining yarn and my eyes are animal and dumb and hold no accusation and every time i die i come right back as another little lamb because the priest loves me so so much and he always chooses me for the sacrifice every time and he always places one hand on my small and twitching nose to calm me while he lifts the knife and he doesn't do it for the other lambs only me because i'm his favorite
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