Marco djurdjevic analysis part 2

Day 4 of 30 analysis:

Composition and Perspective 

Another piece by Marco d just because i love how dynamic his images. If anything he impresses me with what kind of cool images you can create using simple one point perspective in your drawing. As an example of this I'm going to first through some lines down to demonstrate the perspective of this image which you can see below. All of the figures are broken down into their simple shapes to show the perspective for each. 

I love how much depth is in this piece and how he ties it together. Much like in the last piece we see that although he feels like he is coming straight at us when we break him down we see that he is built with a series of cylinders and boxes that we do see in perspective but it is from the side so we see the whole length of the cylinder. 

All of the shapes point back to the silhouette housed in the box like shape of the fortress behind them This lighting scheme and camera angle gives him so much to play with. First he is able to create rhythm in the placement of the figures but also by grouping the shapes and silhouettes together through darker masses that make it pleasant to look at. 

Force, rhythm and convergence 

Next we have a basic rhythm breakdown of the flow of curves through the piece. We see clearly that the curves take us from our foreground element of the figure on the right and we can follow his gesture all the way to the background characters. Our front figure looks so dynamic because his hips are facing in the opposite direction as his shoulders on top of it being in perspective. 

We can also follow the curve of the arm facing us as it enters into the silhouette of his body and creates a contrasting curve that connects his other arm into the females arm and hand. We then can see applied force present in her knee and gesture, her pose is forceful but clearly not as forceful as the figure in the foreground. Her foot points us back to the convergence of the 1 point perspective. We see this same dynamic stance in her hips vs her shoulders and the guard who is falling over himself although hers are more parallel but dont splay out in opposite directions. 

We see this same flow of lines and what not continue from the guard in the midground and connects us in swooping motion to the guard all the way in the back, who is pointing forward driving our eye back to the main figure. We see this same swooping curve in the bits of the building on the right of the page. Notice its arc does not conflict with the arc of our character in the front.

Color

Like before Ive taken swatches of color from the piece and lined them up to match them. Ive found that my ability to accurately hit the same value has improved since I've been doing this and my color is getting closer but not quite there yet. I was close on a lot of these colors but I was also off in a few key areas, again just like yesterday for example I misjudge browns that look like they have more red in them than they really do. In the last 3 brown swatches this is the same problem I've run into, so next time I will keep in mind that these colors have more orange in them than I think. Another note you can see here is an example of how he translates the color of the background shadow of the building to the bounce light hitting the womans top of her shirt, this is simultaneous contrast and its worth noting that the highlight color is not the same as the background color since he uses a darker duller grey purple for the highlight on her shirt. 

Value

A few notes about the value structure: Although at first glance it can seem like the background is the lightest part of the piece we actually find that value wise it is the highlights on the figures that cuts across the right sides of their bodies that give us the strongest whites that exist in the piece. We can also clearly see the darkest values are in the front and as we move into the background the values drop due to atmosphere. Although it is still easy to read what is going on considering they all have similar shapes to these values and we see the greys are bundled together in the shadow of the building that stretches to the bottom of the page and all the way to the top, almost creating a frame around the characters that they are breaking out of.