Image One Composition
This image quiet clearly ‘The Cross Composition’. This type of composition is used to show to cohesion and relationships the most obvious relation ship in this image is the way the light and darks sit on top of each other on either side of the stopper line. Above the stopper line the light colours of the faces are light than the dark background. Then below the stopper line its the other way round i.e. the body is dark on the light background.
Brett Parson “Tank Girl” ImagineFX Nov. 2015: 84-85.
In this composition the artist is using the divine proportions guidelines either by drawing them out or just previous knowledge but the artist certainly knows where the focal points are. As i’ve highlighted where they are the artist has positions this unique amphibious species very closely and bang on where the focal points are. The top being is positioned very well inside all the focal points and bringing the focus to this one in particular. the head is also very close to one of the focal points but not directly sat on the focal point. The amphibious being below however his head is dead centre to the piece. he also used the an odd number of elements to help the piece i.e. three beings. This image’s composition has been thought about long and hard even if its not obvious at first.
Ilya Golitsyn “A Unique Species” ImagineFX Nov. 2015 80-81.
Image Three Colour
This image uses colour to it’s advantage and takes advantage of the eyes reflexes too. In this image the artist use’s complimentary colours to bring the focus of the image to the foreground, the giant character, the blue of in the giants clothes is complimentary of the orange hue in the background dragging him forward and pushing back the background.
Matt Gaser “Limited Colour Palette” ImagineFX Nov. 2015 74-75.
Image Four Lighting
In this image there are many light sources and light affects. In the back of this image there is some use of the Fresnel affect where you can see the mountains in the distance have been reflected in the water. The sources of the light in the image are everywhere the windows for example are giving out sources of light but the framing of the window is stopping some light rays being passed through hence all the feathering back shadow lines on the flooring outside the focal point housing. The dynamic occlusion in the background on the second part of the image gives the image some depth, there is also a blue hue to the background part of the village due to the blue light rays being bounced back from the water.
Feng Zhu Image gallery [online] from http://fengzhudesign.com/gallery_page_03.htm accessed 28/09/15.
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