(intro music playing)
In the Foundations of Composition video lesson series, world-famous artist
and instructor Glenn Vilppu offers you a rich understanding of the
complex subject of composition in fine art. Glenn lectures,
demonstrates, and analyzes the Old Masters in his usual straightforward
and concise style as he digs down to the practical tools of
composition and how they can be applied to your own work.
In this lesson, Glenn draws your attention to the
frame and how to use it to create order and structure, and
tie a composition to an architectural surrounding.
You will learn how to use a two dimensional and
three dimensional design elements in tandem, to create powerful pictures.

Now at this point we've been going through
these different lessons now and constantly talking about frame.
Frame, frame, frame. Everything relates to the frame.
Let's take and talk a little bit about the frame a bit more.
Now this is a little different than later on
when we'll be taking and talking about structure. That's another subject.
But just dealing with the frame itself.
Now what we have...
(drawing)
Okay. Now one of the things
that we talked about with the [indistinct]
was that basically fitting
things up on a wall. And so this was really essentially
the idea of he literally painted.
Painted a frame.
And
in the frame, the frame ends
and even in an easel painting the frame is a transition
from the world. It's taking and isolating your picture
and it's creating a world in its own. Now
that world in its own can be 2D, 3D, it can be all kinds of things
but the frame is a transition. Okay so
that's where we're beginning with. And almost everything I've talked about now,
we start off with the idea that the picture does start from the
left to right.
And as we take and go more deeply into the
working with the figure you're gonna see a lot of this now where we find that this
becomes a transition. So as we've seen, we've taken and
working with the frame,
it's the idea of making this transition
run from the frame into the picture.
So the frame can constantly the use
of horizontal lines used in the picture.
These become in a way neutrals.
And I brought this thing up - with the Caravaggio we notice that
he divided the picture right down the center. S
in a way he was making two frames.
And that we have the picture and figure here going in
on the one side and the figure going out on the other side
and they were tiny things but everything was still working
off of the frame. So now
this brings another element that's - and one of the main
concepts so far we've discussed is this
repetition of the frame being parallel
to the picture plane. Okay. The
opposite to that - and maybe just the
comment about it was that
we - and this would be, we're starting to think now
the change from say a classical to a more Baroque or Rococo
type of thing where we change
from being parallel to having things going
in. Very, very, very strong
within the picture. And having elements
out here in front creating space. Very strong
diagonals. This composition's really going into this picture
and still I'm working off of this frame.
Okay what happens then is there's a - one of the big
transitions that we see when we look at say
Baroque and Rococo and later on
we find that the artists take and now
instead of where with Giotto and most classical works we find everything
pretty much contained in the frame. They're not
violating the frame. Okay well what we would see then
is that the artist start taking partially objects
high on the frame. Pushing, making things have
happen outside of the frame. Okay now
this is carried to an extreme where
I will show you an example where there's a fresco
on a wall and there's sculptures, 3D sculptures,
in the room that are related to the frescos on the wall
and sculptures on the balcony and on the fresco where they have
sculptures out there relating to the sculptures in the room. A very unique -
but it's totally separated from the frame. And we find
that in a lot of contemporary works we see
people trying to get innovative by making frames with
oddball sizes and things. Which I -
it's nothing new. Keep trying to invent - I'm gonna,
I'm gonna take the extreme. It's nothing new. It's absolutely nothing
new. Okay. So the idea of this frame
idea becomes a very, very strong elements. So it's a
repetition. Now as we develop these things
we find - even though these aren't working with dark and light - that the way the
tones work within this will start repeating its constant
repeating the frame, the frame, the frame.
Now when we start moving into the
ideas of structure - I'll just take a short little comment
on this now - is that proportions, the proportions
become a whole different subject. Now I don't really
go into any kind of dynamic symmetry, that's something you can
search yourself but it doesn't interest me that much. But
the idea is that geometry - now for instance
and again we're talking about frame.
Frame.
Now the
element here we're talking now from the frame,
we're talking about two dimensional, three dimensional. Well the frame in
itself of course is two dimensional.
Or in the case of the fresco, part of the wall. And part of the
idea - and this is a consideration
I don't hear people talking about about, is that
the - much of the frescos
that are done, it was very, very consciously not to
destroy the integrity of the wall that they were
putting the fresco on. And we talked about some of the
putting sculptures and stuff coming out of it and in the Baroque where they
get all kinds of fake, painted architecture
that's destroying the structure. That's different, it's a very different
concept. So that's an ideal. So when you're talking about frame
that's where they're keeping the frame, you're violating the frame, you're going in and out of the frame
that's a whole different thing. That's a conscious
decision that you have to take and actually make when you're working.
decision that you have to take and actually make when you're working.
So now part of this then is that this
is a two dimensional surface so if we take
and create shapes in here
it's the shape that this is a two
dimensional shape that gives us the illusion of three dimensional
space. It makes it look 3D but
it is 2D. If I take and
I'm just gonna take and
draw, very, very simply
diagram here. And this is a
reminiscent of the paintings I did many years ago
but I use some very, very strong figures
and I'll start with this one here and just see if we have a nice small figure here
and it's on the surface
like that. Now I can take and
come in and you know create new paths.
That type of thing. But now if I come in and
do that -
now that's a very, very
strong and it becomes very emotional.
Two dimensional type of three dimensional
combination. 2D, 3 plus a psychological
sense of weight pushing down. So
we use 3D, 2D shape.
These are elements that we take and work together
and artists have constantly been doing it. If we take and
look at the Michelangelo, we have Michelangelo,
we have God up here taking and coming off
when he's encased in this shape
of the cloud and the cape coming through
and he's taking out here and creating.
A two dimension - this is a two dimensional shape on a
two dimensional wall but it's very definitely drawn
and executed three dimensionally.
And so these are strong elements. You have to take
and think and this is a - now I'm gonna use the analogy
like in animation. Cartoon
animation, cartooning is pantomime. It's all
in showing very clear, distinct, silhouettes
that it has to show the action very, very
clearly. And so even some of those Cavallino things
that I showed you with the transition going from left to
right, it was the strong shape within the thing that
was taking and communicating what was going on. So
let's take and focus and this time we talked a little bit about the
structure - not the structure so much but the frame -
so I wanna take and show you some examples
of strong two dimensional shape but at the same time
strong working within a very, very fixed
framework.

Okay.
In this painting one of the things that, in the way I have taken and myself
studied, most of the, my teachers, the way they work, even Rembrandt and
Rembrandt, one of the ways Rembrandt was a very famous teacher and one of the
things that he would do with students would give them lessons would be to take
and take an old master and use it as a basis for a painting of their own, but to
take and see if they can improve on it.
Well, that gets a pretty pretty tricky thing, but let's just take and I'm
just going to take this painting by Rubens and I'm going to start to just
doing some sketching from it and to see if I can make the, maybe use it to
make a painting of my own or drawing, at least at this point the idea.
So generally we come with deal with this.
I'm going to draw a little bit lighter.
I start just by playing around with the idea of, well, we've got this
figure going and going up here, even if you're really repeating
the frame here and coming across.
And this arm, rhythm of the arm is pretty cool.
And now I don't want to deal with - I'm not gonna paint a dead Christ, but maybe
let's see, when we feel this line going up and we got this figure over here.
Well what's the point here?
He's taking this, we're going up.
And let's see, I could take and use that figure.
Maybe this guy's sitting back in a chaise lounge.
Okay.
Let's start pushing through, creating that movement and this
gal's coming over and let's see.
Maybe I could use that to start with.
And thinking up here, she's coming over with a tray of goodies here.
At the same time there's somebody up here.
This poor guy's being just inundated with servants here and he got this
gal up here is sort of like the expression on her I'm thinking.
Oh, there's the rich guy here and I'm sitting here and having to
fan him, let's get a fan going on here and that's going on.
Maybe this guy, maybe this is the what we have is some movie star
sitting here and everybody's fawning over him and this guy's coming across with
the phone for him to take and talk with.
And we start to play and start playing with these ideas so they
could go coming through, but you can see where I can take that.
Take the imagery from that.
Now let's just see, how can I - now that I've started came up with a - now
I had no idea what I was going to do, and I wasn't, didn't even know what
picture I was going to be talking about.
But this could take and you could deal with something like this.
So I would typically then I would start doing work with this say, well, okay.
Going through, coming back.
And he sort of being coy here and maybe his eyes, maybe
he's looking off over here.
So I'm trying to bring something to it now a little bit more.
I feel the figures going down.
I mean, we could even turn this into a female.
It doesn't have to be a guy.
And coming through and maybe his hands in here.
He's already got a, bring the arm up.
So maybe he's got a drink in his hand.
And this guys coming around here.
Maybe and elements tend to fall in that.
Now, and he's taking and holding a bottle, to take and pour him some
more something more here and maybe whispering something into his ear.
The al who's serving him as taking and wouldn't mind if she came
to his room later on that night.
Okay.
I guess this, I shouldn't be giving such risqué commentary about - the
ideas that I'm trying to do is I can take it work with this
idea, now this gal's fanning him.
Well, maybe let's take and, keep that arm.
I liked that line going up and maybe even just a maybe one of these folded fans
so we can get the sense of that's what she's doing and the other one coming over.
See what I'm doing I'm taking the essentials of this composition, and
I'm using it for my own purposes
now.
There's the famous Manet, the picnickers in the park.
The whole group of figures was totally lifted from a lithograph from another
artist who nobody hardly ever heard of.
I can't even think of the guy's name now.
That's how you're starting to work these things and you slowly can take and play.
And I would really try to work in that arm because I think that's so cool.
The way that rhythm, that arm is taking and coming through,
coming down and it goes forward.
Now there's much to be learned in just redrawing something like this, taking as
you're playing you're developing, starting to develop the idea of coming across and
through.
I was taking, or here this guy's talking into his ear, he's got his
eyes turned over there and I could go right back into here then, depending
on what kind of storyline you have this gal turning her eyes up oh my God
you have to put up with all of this.
And so you could see that I could, that's not that far removed and I
could take and deal with all the same sense of structure and movement and
this could be just the big chair here.
So I've maintained my verticals, creating the movement.
He's leaning on his shoulder.
He's not being held up.
He's got his elbow on the couch and he's got a glass in his hand and got a
bottle he's coming over, leaning over, giving a bottle, pouring something,
water, coffee, or Jack Daniels.
And typically you can take and you just start going through
stuff and looking and building up.
So now that I've got that then I would start to take and get much more fussy.
Let's ghost this down a little bit and see if I can go back over this a little bit.
And we get a little bit more refined in my line.
So now
got what I like here.
Now I start working with this.
Oh, excuse me.
I needed to get another layer so you can see.
Okay.
Now I've got this guy looking.
Oops.
Get where my stylist is at here.
He's taking and looking really it's an expression.
So this is admittedly very illustrated at this point.
Okay coming through here, this guy's coming around, talking to him, so
I would start to take and build
elements.
I've got him without a beard here, looking underneath.
And we start to feel the pull.
I would actually then be going in to taking and really constructing
the figure all over again.
And besides you had been having a good model in front of you there
then to take and work from, and I would start to say, well, okay,
we got this movement going here.
I like that rhythm of the arm.
I would typically be doing this with a fountain pen, which I do a lot of
drawing with where I would then take and I could add wash and what have you.
But here you can see the is the pull of the drapery now.
We started looking and say well, which I wasn't paying much attention to, I
could, can be coming through and feeling where the lines work around through
and this guy's shoulders in here.
And a guy coming across and maybe it would have to take start with, I wouldn't
necessarily need it, but maybe later I would need to have somebody posing with
a bottle where I could take and draw.
And glass.
And I have no compulsion about changing things of course.
Maybe I would take and even give it a bit of a different tonal direction.
Got this chair, his hands on, this coming down.
Coming through.
Maybe we could even take and have carry that vertical through
something in the background here.
And maybe this will be sections of an umbrella.
And we could use the lines of the umbrella in the background,
keeping the composition moving up.
So there's this girl, who's doing the fanning here.
She could have a robe on, so I could take and use the lines of the robe coming
through and I've moved her over a bit.
She could - maybe she needs to be over here.
If I want to hold on.
See what's was happening there is making a little too much in the middle of between
these two, so it actually works better.
So I moved that figure over and start to play with the fan and sort of the, again,
the eye's going off like oh, why dad do we have to listen to all this guy's chatter?
Rolling of the eyes up, etc, etc.
This is really at the beginning of how I start doing things.
And you can take it and make it a habit.
In my early days, still occasionally do this, I would take and start out
every day, drawing from an old master.
And then taking, and once I just analyzing paintings, like I've been
doing for you, then I would take and start working on my own pieces.
But
you can see how all this whole thing can take and become a whole different thing.
Still dealing with the structure.
I could be talking about the movement, the flow of how the thing goes.
We could weave all the lines, everything going in, but it starts,
starts off very loose, very free.
Every time I begin a composition, maybe I'll have something
from life drawing class.
Maybe you've got somebody let's just say quickly in a pose, somebody
sitting here, model leaning back.
This is the assignment.
Take a panting, take a whoever.
A Rembrandt.
We will give you a series of things that we would prefer you work from, but maybe
you have a certain direction you'd like to go, but to take that and reinterpret it,
bring it into a contemporary environment.
So that we're not just redoing the painting, you're bringing it into a new
element, which will then consequently give a new storyline in a sense.
But to re, to use the artists of the past.
And this is the way artists worked in the studio or the teachers or Rembrandt would
have the students take an old master, take the composition and improve on it.

This is an artist by the name of Cavallino.
One of the main elements that I've been discussing is the idea of transition.
Now, starting on the left-hand side, notice that we're taking and what
we're dealing with is the frame.
You have the frame up here, and then we have this first
figure is a series of verticals.
As you look to the left
okay. The figure in fact is leaning backwards.
So it's really expanding.
And then if you can just visualize this now is what we
have as a series of transitions.
In the fact that the transition continues all the way down to the ground here.
So what you seeing then, and maybe I can make these lines a little, even bolder.
So you're seeing this, you're feeling this dropping then on the other side,
again, we're starting with the frame.
Verticals and then we get a series of figures going in.
So as he's doing this, where it gets very obvious, then you can
see the parallel lines here to the leg and the stuff going on.
It's carried on into the background here.
This is very similar.
Now that little diagram I did to start with.
So even look at the way, the light, the shadows in the background,
this guy's arm coming through.
So we're making - and this is, let's just do a little diagramming right here.
What we're talking about, and you can see that everything is pretty well parallel
to the picture plane on the bottom.
It's like a stage front.
It's just the stage out in front of you here and the figures
are taking and going back.
So we start with the idea transition and it keeps on going down.
All the way down and it gets repeated and then we've got the top up here and
then we got, so this is your primary and we have the secondary movement
then taking and going back and you can see now how he's taking in the drapery
in the background is building up.
And this is now he's noticed how this is working now, he's
getting this stuff going down.
He's literally working with the center of the frame.
You have these backgrounds, so it's going one way to the other.
So this is simple idea of transition.
There are other elements in here.
We talked about timing, okay.
Look at this head to now, to this head.
And as he keeps going notice even the hand coming out, out here.
Okay.
We're creating a series of movements that are going through.
Everything is worked out.
There are no loose ends.

This is Piero della Francesca.
Francesca is one of the real luminaries of the Renaissance.
He was an early developer of a perspective.
Now we will move across the picture here.
Okay.
Now looking at the left-hand side, we're talking about play of opposites
now, and then it ghost it down a little bit, so I can take and draw over it.
You can still see it.
Okay.
First of all, on the - he starts right at the frame, you got a
series of very strong verticals.
Okay.
Now you get a rear end of a white horse.
He can't see its face.
He got a black horse.
We can't see the body, all we see is the head.
Then you've got this head back here and all we see is the eyes.
That's pretty daring.
I don't know of any contemporaries that wouldn't even attempt
to do something like that.
Now.
From here, then you get a figure.
We're talking now talking about play of opposites.
Okay.
Black hat, white hat.
Red socks, top robe, back view, front view, the whole thing.
Now this is sort of a thing here.
Look, we're seeing a brown horse.
Where's the body?
Okay.
Probably the he's taken it out, but we got the legs coming down.
You know, he's working off these verticals here.
Okay.
Now this is the, I think this is actually the president and the
presentation of the queen of Sheba.
Okay.
Now you've got these figures in space back here.
Okay.
Now these women
are in a foreground, they're in a totally separate space out here
as they, that space comes forward this serving woman is back.
That's back, this is forward.
Now this is what's some really neat stuff here.
Okay.
Look at the transitions.
Okay.
Starting out with this robe.
He's repeat.
He repeats.
He repeats shapes.
It's getting going up, but he's doing, it's like here, we have
this tree in the background here.
See, that's coming down.
That's a vertical, it's like timing.
So now we get another, we get the verticals in here and now we're taking
the white coming through, building up.
Okay.
Look at the shapes now.
Look at the shapes of this head.
Okay.
As you look at these things and let's, let's really get in
tight here so you can see how extraordinary some of this stuff is.
Okay.
Okay.
We come through.
Okay.
Here.
Now he just pulls these - pulls these shapes in the back.
This is taking and coming right off.
He's taking those lines.
Look and take you this face here and running this face right up next to it.
This now notice that the shape here.
We have this arm coming down.
Then we pulled through here.
The next arm is coming straight off of this is the hand
going down, coming through.
We find that there's a repetition.
He takes repeating these arms taken come down and we'll see over
here, the belts carrying the eye
Now we used to call this the mural painters line.
The long line, the line that carries your eye through the picture.
Now talking about eyes, here you get just like the horse
you got somebody's head here.
All you see that head is just an eye in the fore - notice we got the chin
coming through, caring the line through.
Each one of these heads is different, but he's taking the same pattern.
We got the headdress up here coming through, same headdress coming through,
and the long line that's coming through, and we starting building these things.
So as he's doing this transition or going across, we see it's
coming down the hand up here.
The hand pushing down, the other hand down, looking at
these pools Kimmy through, and then she's here with her thing.
And this is actually ends up with a cast shadow.
So getting to the transition, pulling down to this cast shadow and here
the pull, these lines coming through.
It's really - this is a fresco.
Okay.
Now Francesca was one of the earlier developers of perspective.
So what you're seeing here every element in this painting is
absolutely perfectly designed.
Three-dimensionally in perspective.
And yet it has an incredible two-dimensional quality about it.
The way he's taking and building things in here as this.
Figure drops down here the mountain lifts up.
He's constantly taking and playing with all these elements.
And as you can see, he's dealing with the mass against space of space on the left.
Pass on the right he's carrying this line.
Notice the heads, the figures are all lined.
This is a group of figures, a very clear mass that we find the one main figure
pulling away from the group into here.
So now you look at this group, you find all the same thing.
We're picking up the white on the one side to the white
on the other side, this is an extraordinary painting.
Well worth taking and spending some time looking at.

Now talking about the frame.
No square here.
Okay.
It's taking in the shape of the frame now is quite different,
but again, let's zero in here.
And we look at some of the play of differences that it's going through here.
Now we're talking 3d shape.
Luckily, now this is fun.
You have a profile.
Look at these hats.
Okay.
Profile view, somebody here, a three quarter back view.
Three quarter front view,
a profile complete profile again, but looking at the difference in the hats,
this is a complete plain with differences throughout the whole thing.
There's nothing about these figures that are similar.
They're all very different.
Now, as we look at the whole here, what we get is the
figures are here within a group.
Well, the cross is leading into - now the next group here notice all
these are all down and again, you're in a very clear group.
Look what he's doing now with the space here.
Of course he gets the space going back here.
And part of the fresco's been destroyed here so hard to tell what was going on.
Okay.
And then you literally just figures stepping back into the picture.
Now this would be perspective-wise absolutely correct.
But I want to show you another little play of the 2d 3d thing.
Now it's a little hard to see in this reproduction.
But what you have happening here now look at this hat.
What he does is he takes and he plays the lines and the fingers
and the wall right behind here.
It's amazing to see.
Look how he's coming out with a shape here,
forced it and he the last 20 years of his career, he spent
writing thesis on mathematics.
So you can believe this the way he works with these shapes, building
one shape coming out of another.
It's an incredible bit of two-dimensional, three-dimensional desire.
See what you have here is the corner.
Here's the wall.
This is the cast shadow.
He's working with these things.
2d, 3d.
Again, if you go back and you look at each one of these
heads, they are all different.
So now let's this take something completely different.

Here.
You have Thomas Hart Benton.
Now he was a, he's an American muralist, from Missouri.
At one time, he was considered the most famous American artist.
But you can see what you have now is very severe two dimensional, but at the
same time three-dimensional and it's a really very unique, the whole painting is
in some respects, it's two dimensional.
You feel surveyed, you're looking down so that these shapes, 2d shapes, looking
and notice the way this shape here.
This will feeds right into shape that we got going through here.
Okay.
Now this figure is actually going in.
Okay.
We can feel the shape going through the next figure.
And this is a two dimensionally, so you can see how this is
being captured this way.
And then we're coming back around and capturing, but this is three dimensional.
Look at what's going.
This is he's taking and creating a wall almost that we would say.
Where he's taking and pulling a thing yet, he's putting all this
stuff and to a two dimensional context, but it's 3d, 2d and 3d.
It really has a sculptural quality.
Now, all this stuff goes here.
You've got this, I think it's supposed to be a fire hydrant
leaning the opposite direction.
Got this stuff going through.
He's building, these things going back, he had this tube for the jack
hammer coming around, going behind.
He got us, the building through 2d, 3d.
Very strong.
If you look at the works of the sculptor, Henry Moore, you will see
a very similar kind of sensibility to this as a sculptural look to it.
He's is playing darks against lights, constantly building the thing up.
And, but notice this is not a Baroque picture.
Everything is contained within the picture.
Everything within this frame that we have here, everything's within it now.

This is an artist named Lempicka in 19 Oh, I say 2010.
I think that it was in Rome and there was a marvelous show of her work now.
But obviously very two-dimensional, but at the same time, very three-dimensional.
So you've gotten, you're working with the two different elements now.
Same thing, 2d, 3d.
It's on a flat piece of canvas, very two dimensional rhythmical
lines going through it.
We can take and let's ghost this down a little bit and look at it.
Notice.
Okay here's we've got our frame.
You can see where it changing color is taking and pulled.
So we've got this very 2d, 2d line.
That's a basic rhythm he's changing color as we're going through.
But even when here I mentioned- a classical concept of taking and
to dealing with complex forms.
You enclose them within a simple boundary.
Okay.
We saw in the - well at first let's look here and see what he's got this
arm angle of the arm going in, but he's, she's taking and coming back and closing
that off, keeping the vertical going.
She comes through.
And straighten this stuff up.
So your first impression is, Oh, it's really this 3d figure with
the two, even within the figure we find extreme two dimensional forms.
Notice that he's doing, she's doing with this shadow.
It's a rectangle.
Yet we have this very beautifully rendered breast.
Okay.
They come through, look at the, what you got on the outside here.
We got this contour, this line coming in.
Well, that's the same kind of play that we were seeing in the Rubens.
Now this is coming down and working right off the frame.
Now she's taking and pulling from this point here, we're building up.
She pulled, she's going, giving it 3d.
She's throwing cast shadows.
She's dropping the drapery around.
So at the same time that we're dropping, we're lifting and we're
lifting up as we're dropping.
It's a contrapposto type of action.
So what we see then is we're building these things.
This side, the background lifts at the same time as we're building the arm.
So we're lifting on one side and dropping on the other, but we're creating a
compression that's taking and doing this to coming through and doing that.
And so we're playing opposites all the way through the pantry.
And we're also dealing with the 2d, 3d composition and single figure.
So as we are taking, so now we can take it and really start thinking now more
about working with the whole figure a bit more and composing the picture.
And yet notice that these forms in reality are really quite simple.
Very, very - anatomy is minimal.
It's more just a question of cylinders and spheres.
As we put through with very extreme rendering of the forums but very
clear you feel that that round tummy underneath and the straight
line being pulled across over.
And as you're doing this, we're getting this zigzag pattern
that's taking and building it.
It's a very interesting painting.
Very interesting painting.
She's really - we don't hear - her personal life actually tended to
obscure a lot of hee artistic talents.
But notice here now I'm just looking at it and I missed
this first looking at it here.
Look at the line.
This line here carries straight through, into here, coming down.
This is carrying right back, right up into the picture.
Building, building these lines, coming through.

Now in this drawing here, this is a little different than say a
Rembrandt or a Ruben's would've done.
What I'm seeing is different here is that thing that's going on, again, a
couple of different points of view here.
One I'm really thinking about the spatial elements to what we have here is a
figure - we have here the figure that it's taking and actually coming out towards
the slightly, Oh, we're seeing is this
figure coming out in here and there's a bit of a twisting now.
Feel this is what's going on.
So there's a figure coming out this way.
Looking across that direction.
Okay.
Now the next figure here is going in and actually looking the other way.
So at notice how clearly he's really, he is really very clearly
defining the side of his form.
And pelvis now, as he's coming out, the leg is coming out.
Here notice where he goes across the condyles here to help give us
a sense of corners to this form.
Okay.
Now I started out by saying this is different.
What would a say a Rembrandt or even a Titian or a Rubens
have done differently here?
And this is the thing that you can take and which was the, one of the things
that Rembrandt they, how could all people don't realize Rembrandt, for
instance, what's a very famous teacher.
In his day, he would take and take an artist and have the students take and
do variations on artists' composition, seeing if they can improve it.
But anyway, besides the point, may come up again later.
But here I want to do is to
what you see here is that typically it is frankly, what I would have done
I would have had the light coming down here and I would have dropped
this figure shadow for instance, to get it to go behind a bit more.
Yeah.
Then have the light hitting the figure behind.
And since we have the oldest shadow going here, I would probably even
here taken in, maybe add the shadow.
Taking going across,
I think wrong with rethinking what the elements that you can work with.
But what you're getting here is a sense of space being created.
Although you didn't take advantage of it I don't think
by creating this depth in here.
Cause what he's actually taken and come through then see, we
have this arm coming forward.
This one's coming out from underneath and then the legs going behind.
So he's actually creating a very large amount of space.
So that that's interesting and it's a simple play of opposite to that.
At the same time we got this figure going in, this one is taking, coming
out and going in the opposite direction.
He's taking and blocked off the space, the mass, our depth is basically to the left.
Notice that the shape of the figure going in is being repeated
in the shape of shadow behind.
Strong horizontals across the bottom.
These horizontals are carried through.
Notice there's a change in the size of the spaces, which is important.
And also would we also get the line.
It's a very abstract line now coming through here as you're pulling down.
So as we're pushing up through, into thinking of the
area, this is a sarcophagus.
With him going down in, or actually playing the opposite
down here, space going to be high, but it's an it's a triangle.
Let's just take and close this off here now.
So you could see what I was talking about was more or adding tone to
create and emphasize the space that he's working with a little bit more.