Figure Composition

mroy27 · #1 01-22-2012, 01:40 PM

Hello everyone. I have a figure composition in mind that is primarily light in dark, the focal point is the girls face and upper body.
The following one is a full thumbnail:

and these are the crops that I have shortlisted:

The first crop, I find most interesting as a B&W thumbnail even though when I am looking at the full colored photograph of the girl I am tempted to paint the whole gown even if it is in shadow. Please let me know your feedback.

Also, is the light and shadow shape interesting and evokes a calm yet catchy response? Thanks again to everyone.
manju

**La_** · #2 01-22-2012, 06:00 PM

the last one's the best for me ... her being on the left side, more window showing, seems a better balance than having her on the right, facing right

la

Keith2 · #3 01-24-2012, 02:54 AM

Here's my view:

In the first photo, the figure is too centralised. In the next three, the figure is to the right hand of the centre, and there seems too much dark tone on the left hand side. I think the final photo is the best.

TAA · #4 01-25-2012, 08:54 AM

Hi. The next to last image is the one that holds the most interest for me. I like the tension caused by the large blocks (figure and the dark/light areas around her) drawing my attention up and to the right, while the gesture of the figure (her face and upper body language) draw my attention back down toward the center and beyond, toward the bottom left. Cheers!

jderek · #5 01-27-2012, 07:39 AM

I would either go with the first one or last one depending on your other elements of the composition.

mroy27 · #6 01-27-2012, 09:11 AM

Thank you very much for your responses! No wonder a correct harmonious composition is so difficult. I would have preferred less areas of such light values as the window since I don't want it to compete against the center of the interest but it causes other problems if I reduce the size of the window. There is a certain amount of serenity and elegance in this theme that I want it to come across. While I play around with the composition a little bit more, I would request a few more feedbacks and the reasons behind your choice, if you had to choose between the last two.
Thanks so much guys!

sharkbarf · #7 01-30-2012, 04:37 PM

I can't say I'd pick any of them. IMHO the cropping really did nothing for me.
The reason is this, I'd like to see the full figure (feet) unless there is something there (object) blocking the view.

I think you'll find a general consensus would be to use the Sacred proportion (Phi) into the size of your surface. Try to incorporate the "Golden mean" into your composition.

mroy27 · #8 01-30-2012, 06:01 PM

Sharkbarf,
Seeing the feet is not important to me. Also, the figure is placed pretty close to the golden mean if not on it.

sharkbarf · #9 02-01-2012, 11:30 AM

Quote:

Originally Posted by mroy27

Sharkbarf,
Seeing the feet is not important to me. Also, the figure is placed pretty close to the golden mean if not on it.

When asking for help with my pieces lately I've had a lot of comments about the story or narration is the most important part. So what my comment to you was about, was unless there is a reason they can't be seen (compositional balance, hidden in shadow, covered by foreground object, etc.) which helps convey the message your trying to relate then otherwise it would help anchor the figure to put the feet in.

As for the golden mean: I don't see it. Your original drawing is close to square and so are all of your crops but one. It would be easy to suggest it with the window. If you did change the proportion of the window it could also help to offset the head because it looks pretty close to the center.
On that note: I looked back over your crops and I'd pick the second one. That way the head falls on one of the "rule of thirds" center of interests.

Hope I've been helpful. Have you worked on this more? If so post pics.

sharkbarf · #10 02-01-2012, 03:52 PM

I thought this might help you understand what I meant by needing a story to why the feet aren't visible.

http://bertc.com/subfive/g78/images/hopper16.jpg

mroy27 · #11 02-02-2012, 10:03 AM

It is funny that you mention Edward Hopper's painting. They are by themselves very powerful (this one has a strong feeling of 'you are being watched' and therefore more effective to show her body partially) but Harlan Coben (a contemporary thriller writer) regularly refers to a painting of Hopper's in some context in his stories and though they come from different era, the two bind together so well that every time I see that particular Hopper's painting later on I find that I keep thinking about it for hours!
As far as my composition goes, i will see if adding a feet adds anything to the composition. I am still working on it but this is all about grace. This girl is only 5 years old and even at this age the common remark of everyone is 'She is so graceful!'...so that's what I want to capture. She is playing with her doll, dressed in her gown and even while playing she has a certain grace and elegance...that's the whole essence.
The original thumbnail is what I usually start out with and is what I use to move around and crop, not paint, and that is why figure is centered and is square. The cropped ones are composition that I was asking for feedback, and are not square. anyways, i am working on this composition a bit more and will get back when I am ready. Thanks for your comments.

mroy27 · #12 02-08-2012, 03:51 PM

Here is the latest composition that I came up with:

Would appreciate critiques. Thanks.

**La_** · #13 02-09-2012, 01:57 AM

if the wall decore is subdued i'm with you on this one = )

la

mroy27 · #14 02-09-2012, 08:48 AM

La..yeah, the wall decor is definitely subdued, the only purpose of that is to point towards the figure..in a subtle fashion (in value terms comparable to the stroller).

sharkbarf · #15 02-09-2012, 09:50 PM

Mroy27

Fabulous!
I really like this one. I think the first one really helped you solidify aspects and it reads here.

The things in the background definitely help the flow of the piece and help draw my eye towards the figure.
I like what you did with the "feet". Here even though the feet aren't showing they're also not cut off. This works much better because the figure fits in the picture, which helps give the background more depth.

My comment now is to only slightly slide the crossbar of the window down a tad because it feels off compared to the other perspective lines.

Thanks for showing us this latest rendition.
What are your plans for this? Is this for a larger drawing? A painting? What?

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