Hello prokoers ;) I will do an illustration traditionally and then digitally, I want to do a knight with a big sword, breastplate and shoulder plates standing in front of an entrance. Wich of these poses do you think is best? Should I explore more, any tips?

Hello everyone I was given a task To make a poster for a bad art club And was given the following two images As refference so in the third image I made the poster I took the style of the fonts like thick strokes and fill from the refference and just made an illustration at the background to make it different from the first two posters because I wanted to do something different this time also I have less experience in creating posters so can anybody give me feedback for it and thank you

I’m looking for a list of different ways to compose a drawing to the right message. Like rules of thirds Fibonacci sequence and others. Also what purpose for each of the techniques if possible

Here is a project I've been working on could use feedback regarding composition and composition basics that I could work on.

Hi, everyone! I need some feedback on this digital art piece I made recently. I gave it 2 backgrounds but I am unsure how balanced the pieces seem overall and which is better. Any feedback is welcome! Thank you!

I really need a course with lots of examples on how to build up a scene from scratch using perspective but not the basic stuff 1,2,3 point perspective to draw a simple scene but how to draw a dynamic scene like in comics with correct perspective

Hello Everyone! This is my first post I'm honored to come to you for some advices. I'm here to progress with my drawing, specifically anatomy, inking and composition. I'd like to know your point of view on (full body) characters placed in empty space (no backgound) and the way to make the final picture more composed and dynamic. Backgrounds are not my cup of tea but I try to incoporporate them more often. Sometimes I feel that it is not needed, however, when I look back at my drawings I think that something is missing with most of them. I try to respect global composition rules within the character and its props but I guess this is not enough. Here's some example from my personal gallery (some have backgrounds, some didn't). Thank you very much in advance for your help, you're the best! s

Hi Proko People! If you want to develop your composing skills with me this summer, spend twelve weeks (June, July & August) in a rigorous schedule of exercises, prompts, and projects to build your creativity and design strengths. You can read more at the "Composition Bootcamp" link on my home page: https://www.marshallart.com/HOME We just finished a three-month round and it went well enough for several students to take it a second time. I hope for this summer to be the best of all, and to see you there! Marshall

Hello everyone, I want to make a fanart of Luffy Gear 4 Bound Man! But I want to give it that wild and dynamic touch, like @itokazuuuu's drawings or like boichi, giving them a final rendering in graphite. But my sketches look very loose in composition, what can I do to make them more dynamic, the 1st one looks like 2 standing pillars crushing something XD, and the 2nd one looks very generic Any criticism is received and appreciated. Image credits https://www.instagram.com/itokazuuuu/?hl=es Boichi Manga Author

This is a preparatory sketch for a proposed painting. Any critiques would be appreciated.

“Tuatara”, dip pen, indian ink on paper, 2024.

Hi everyone, So I need feedback on my pulp poster. It's for my own novel set in the 1940s, and involves some of my characters. I would be glad to know any of your opinions. Thanks in advance!

Hello everyone, I am making this sketch of a 3/4 portrait, so I can have a good composition. I want to somehow be able to add the flower elements at the top left, and the flowers at the bottom right. Without sacrificing the composition, since being in the middle I feel that it is very static, what do you think?

I'll leave the questions right at top for any helpful soul that doesn't want to read too much— I aim to make a suffocating scene, but the numbered spaces on the first attachment seem to prevent and even detract from the desired effect. In light of the third attachment where the 1st numbered figure's enlargment makes the 3rd numbered space seem more 'off', how do I understand whys of this happening? What causes, if there truly is one, the disproportionate feeling? Perspective mistake or use of spacing? For the long explanation: This is a scene of capture. The aim was to make the kneeling figure(somewhat centered) small relative to other figures, and also make him 'suffocated' by the numbers. The view is over the shoulder of one of the pigman blocking his escape. The first attachment is the basic sketch, second is added details and fixed perspective issues, third is the final adjustment. What I feel is, and I think the problems come from the three spaces I numbered on the first attachment, the composition makes the scene 'suffocating' to view, rather than suffocating to the character. I'm not sure if that makes much sense—in another way, the perspective and placement seems to make the numbered spaces pop more than the figures' presence, hence neither the central figure nor the surrounding group seems to be in or out of focus. I intend to make this a painting, with the main light source the kneeling figure(Thinking of a ball of flame from his hidden left hand that pops under the chest), and I think the only thing I can resort to fix this seemingly imaginary 'off'ness is to block out the 3rd numbered figures in shadows or entirely hide them away—which seems lazy :( Again, please do point out if you need any clarification, and thank you still.

Sketch inspired by an episode from love death and robots. Feel free to critique. Thankss

Hello everyone, I was looking for some feedback on the composition of this castle. So the story goes like this, There was a very evil and wealthy king who had a huge castle in the mountains where the winter never ends. In a huge battle, he lost all his money and his castle was destroyed. Does the composition portray the description and does it look evil and epic at the same time? Thank you to anyone who takes the time to help me out.

I need help around with "what to do next", this drawing is almost all from imagination and I like that but it sucks with composition, I can't find anything good for that topic. I always get stuck when I need to finish a drawing. I love Eliza Ivanova and her simple approach to shading and line control, now I do not expect to copy or for my lines to be like hers but when I zoom out the image is way to busy its not clean. I would like my drawings to be clean and direct like Eliza for example. Tryed to study and observe her work but I truly do not understand what to look for anymore. Any critique is welcome or directions where I could go with this.

Hi fellow artists ! I've recently become very interested in composing artwork. I've gotten pretty good at using the Fibonacci spiral, but I recently discovered dynamic symmetry (check out the link for a pretty comprehensive tutorial). I understand how to draw the different lines, but I'm wondering if it can be applied to all formats, even those that are close to a square or panoramic aspect ratio that are far from the golden ratio (phi) ? And once you have all these lines drawn, how do you get the most out of them ? Do you focus on the lines and try to align your compositional elements with them, or do you compose based on the spaces created by the lines (creating harmony between full and empty areas) ? If you could shed some light on this, I would be forever grateful ! Thanks in advance and see you soon ! https://ipoxstudios.com/dynamic-symmetry-grids-for-photographers-and-painters/

Which ones are your favorite? Any critique is apprreciated!

Hi everyone! I'm Siqi, and I started a painting based on a photo I took of a waterfall. I roughly blocked in the colours today, but I'm not happy with the shape of the waterfall, and the photo doesn't conveniently offer an aesthetically pleasing shape, haha. I couldn't really figure out a better shape ... so any suggestions would be very much appreciated! This is a bit of a branch of a dam-waterfall, so it starts from a pool of water at the top, and is kind of wide before it drops to a body of water at the bottom. Of course, I don't need to follow the exact structure of the waterfall, but in case that helps! Thank you! :)

this artwork is not polished yet! something is bothering me, I think it's mainly the composition and value(?) I still cant pin point what's wrong any criticisms are welcome!

Hi! I am working at my fantasy landscape. This is a digital painting done with Affinity Photo. I use two merged photos (one rural and one urban) for reference. The buildings in the background and the car in the right side will be completed. I am posting this uncompleted painting to get know if something should be changed. Actually I prefer the real (physical) paintings to digital ones but unfortunately I have no more space in my house to store them, lol.

Hi, I'm doing an exercise where I try to finish an illustration in 4 hours. Last year I started working on a drawing ( https://www.proko.com/s/H4dr ), that I never finished... hence the time limit. Any feedback appreciated :) I expect to be modifying the exercise as I go. At the moment my goal is to do a Tarzan drawing in a realistic style. Tarzan 1: 5 hours Graphite pencil (2h,hb,2b) on A4 paper Narrative: Tarzan chasing the gorilla who has kidnapped Jane. When I showed it to my family, they had trouble reading it. So in my next drawing my focus was to have a clear narrative. I realized graphite pencil was a slow medium for filling in tone (I hadn't covered the piece in tone by 4 hours, despite doing it in a rush), so I also switched to conté for the next piece. Tarzan 2: 4 hours Conté (B and 2B) on A2 printer paper Narrative: Tarzan preparing his spear before returning to the fight with the leopard. To summarize these 2 weeks: I feel confident in my skills, but struggle with bringing a finished drawing together. I'm happy about where the drawings were headed, but not really the final product. This might be about giving myself more time, the creation is very rushed, but I want to play around a bit more with the 4 hours to see what I can do. Up next: - Simplify more to reach a more controlled result and to have time to focus on value composition. - Mimic the style of another artist --> clear goal + learning from a pro - Use materials more efficiently Cheers!

Hi! I am now working on a portrait illustration and here are the final notans I came up with and a sketch It is a portrait focused on her eyeshadow mainly. An ilustration that would be fit for a beauty magazine. I also want to show some playfulness in this illustration so I edited the triangle earring in the color notan and gave it some movement to make it less static so I'll go with that. She is wearing a 60's dress (Twiggy style). The thing in the background is a camera lens. What can I improve? All feedback is very appreaciated! Thank you!

I generally love creating fanart, but I am starting to finally focus (trying lol) on strategically placing images in the composition and using the rule of thirds. I'm scared, BUT I'd like a critique and please tell me what you think. These are just a couple of my Monster Hunter series. Curious to know would further enhance the composition.

Hi guys! Basically my friend is producing and directing a short film approx 5 minutes and has asked me to do the storyboarding for her. I have 0 experience of anything like this - I tend to spend lots of time on one drawing/painting, and have no knowledge of film anything! I have until mid September to get it done before filling starts and it's unpaid but I want to do a good job. Is there anything you might recommend I read up on before I get into it or does anyone have any advice for me? I am planning on doing it digitally, and black and white - is this pretty standard? Thanks for any advice!

I created this image for my son's 5th birthday cake. I wanted to keep the design playful, any thoughts?

Hi! My name is Pasi and I'm looking for C&C / general feedback of my work. These are just for personal use and I'm looking for to make a transition to illustrator/2d art freelancing jobs for the next year. Currently working in graphic design. - Feel free to C&C /to comment on anything - is there something, that pops out in my drawings? - do you see something (like a fundamental skill) that would really boost my art, if I learned more about? (If so, maybe you can recommend a online tutorial/education) - my style varies, do you see this as a problem? Should I be concentrating more in one style or way of drawing? I'm looking forward to dive in to this Proko community, because I know that one BIG thing what I'm really missing is network/art friends/community! I'm really alone in the north :D ps. I have been drawing more seriously about 10 years for my personal joy. I do like animation/Disney/Ghibli/books/scifi/fantasy/Tolkien/Witcher/ etc. and because I'm a father of to boys, I also like to draw children's stuff. Thanks, Pasi

Hi! I am planning a new cake illustration and here is the final notan I came up with, a rough sketch and a color sketch. The concept is to show how sweet and delicious the cake is. The cake is the center of interest. The plate, the cup and the flatware will be a bit more designed to give it a more elegant look. To make it look a bit more playful I thought about adding a red checkered tablecloth to the illustration. The thing behind the cake is a napkin stand. Is the composition working? Is it clear from a distance what is in the image? What should I change? All feedback is very appreciated!

Hello, after finishing this concept i feel like it's lacking on something I think its the composition and the design. Any tips or advice for improving these 2 like exercises. Thanks a lot

Hi! This is my first landscape piece in a while ,so I'm nervous to post this . This is a landscape from my graphic novel project ,which is still a work in progress. Please tell me if you see anything I could do to make it better..thanks! :)

Hi guys! I know Proko is not a critique bureau, but I would really appreciate some of it :) I'm a self-taught artist and critique is crucial to me, but till now I hadn't had any. I've been learning how to draw for a year and a three months by now, and here's the result. I know I should get into anatomy ASAP and I need to observe the reality more to improve my shadow/light relations, as well as perspective. But maybe there's something I'm not able to see, so I would really appreciate if you could tell me the most obvious mistakes to give me the chance to improve my art. I also know I have big problems with composition(I've made a lot of effort to make it decent in this drawing though), but I don't understand where I can learn how to make it better. Is it by observing the world around me, or maybe there is some good books you know about? I would really appreciate some advice on this issue! I know by the Proko challenges that there are a lot of great artists over here, and maybe you could help me! P.S. The little girl was suppose to be my focal point, but it definetely didn't work out as I expected.

How do you guys approach planning a scene??. And the proses of it. Do you have artist/book recommendations that show the proses of making a scene. Image below is a projec, I want to the archer pose (image1) in a scene(image2), thus making the planning, (sorry bad English)

The composition is meant to be a salamander running from squirrel..Any..critiques??

Hello guys! I drew this today, it took like an hour. The intention is to practice for storyboarding. I would love some critiques please. Suggestions of resources would be great as well ! cheers ! <3

Hey, I’ve been needing a website like this for some time. I live on an island and have no one to get feedback. I struggle with composition. I’ve just finished this painting but am curious to see what people think and how they would’ve laid it out differently. it’s of a small battle between a plantation owner and a french pirate that happened in the late 18th century. I struggled with the perspective too but I think it’s there. Anyway, please let me know.

I posted on here a couple of days ago and was so genuinely impressed by everyone's feedback I want to use it again. I'm trying to do a historical representational picture of some caves on the island where I live. These caves used to be used by the indigenous Lucayan Indians, so I want to paint a scene of them using them. I have some good reference pictures of how they would've looked but I'm not sure how to place them. I've put a stick figure in for scale. There can be as many or as few as necessary. There will be shafts of light coming down through the holes in the cave ceiling so I know I definitely want a small campfire with the smoke going through the light. The background still has a fair amount of work to go including a lot of vines and sunlight dappled on the ground and the shafts of light coming through the holes. I'll add my reference photo I'm using so you can get an idea of what it should look like but obviously it doesn't have people or shafts of light. Any suggestions on how to place the people and any criticism on colour/saturation/contrast is welcome too. Thanks everyone :)

Loosely based on a real person, but mostly from imagination.

Hey everyone! I'm trying to develop a more interesting piece from this drawing and develop some composition and design skills. I am looking for some feedback on a few sketches. The idea is of a swordsman being compelled by a female demon who whispers conspiratorially into his ear. The style I am interested in is what you would see in linoleum or wood block prints - well established shapes and planes with clear edges. I've been watching this fella on YT - Emil Salmins, as he carves big ass drawings onto linoleum and cuts each line out with tiny chisels and gouges. The carving process puts a certain constraint on the rendering style of this kind of work, clear shapes and bold lines. 1 - original drawing I am trying to elaborate upon Last two are pieces by Emil Salmins - https://www.emilssalmins.com/about

I am a 3d everyday artist and I been creating art for 530+ days straight! While I feel my work has improved with time, I still believe I can get better, Ill select 10 of my "best work" hopefully you can all help me out if you are interested in checking the rest of my work: My Website is : stupidgiant.com My Instagram : https://www.instagram.com/stupidgiant/

My friend recently bought some art from me. So I thought I will surprise them with a new piece inspired by them. I’m going for this lost in the imagination of literature vibe. The aesthetic is disneyesque mixed with a bit of darkness and withdrawn for the main characters a little more.

Hi everyone, I just did the notan master studies and I really struggle on this. Any suggestion?

Hi everyone, I just watch the draftsmen on how to learn composition and I interested in doing one of its exercise which is only using black and white on master's painting. What is the procedure? Do I just trace the painting or redraw it?

Did anyone listen to the Draftsmen episode where Marshall introduces the book Picture This by Molly Bang? He talks about metaphor as composition... a gown is a waterfall, the stage design is like garbage, etc. I found it very inspiring. I'll attach an image that I made for a Proko challenge, where I was using metaphor prior to hearing it described that way. In the image I was going for a pleasant, mid century, Disney feeling. Everything harmonious, agreeable shapes and movements, easy, flowing. Feel free to add images in the comments where you tried to carry a consistent visual, emotional metaphor through a piece of work.

Would like to know your thoughts about this recent composition.

Hi All, i was wondering dose anyone have any good reads on faces that tell stories. For example Wrinkle lines around eyes are an example of someone who I have a squint a lot. or x type of head shapes gives the impression of x. These are just example of the kind of thing I am looking for. thanks

Enjoy

Hey everyone! I'm working on a scene for a short animation and I was hoping to get some feedback regarding its composition. The sketch of the scene is supposed to represent a table full of food, a grandma looking down at the grandson, and the grandson blindfolded sitting down at the table. The whole scene is going to be a quick joke about how usually grandmas expect their grandchildren to eat a huge amount of food when they visit. :D My only concern is the fact that the wall is not parallel to the edge of the table, which I found to be very uncommon in dining room references. This might make the scene look odd to the viewer. However, it could be that I'm totally overthinking this... Also, the items on the wall are not completely random since they contain a small easter egg for a future episode, so they do have some importance. This is one of the reasons why I wanted the items on the wall to be easy to understand and not distorted. I would highly appreciate your thoughts on this. Is the setting easy enough to understand and pleasant to look at? Or does the orientation of the wall throw everything completely off? Thank you!

Hello everyone! I made some pretty quick b/w only comps, i always find it difficult to work only with 2 values and hard brushes. Please let me know what you think and if you have any suggestion for improving my comps!

Hey Guys! I just completed SVS learn's Creative Composition 2.0. The final assignment was to compose a scene based on this description " Quickly the little salamander scampered down to the forest floor and hid from the squirrel!" I also had to include as many elements as possible so it may feel a little chaotic but I wanted to create a pleasing composition. What do you guys think about it and what could I have done better. Please help me with it. Thank you!

Hi! These are some sketches I made for my illustration class. I'm trying to become a book cover illustrator :). Critiques are welcome. Also any advice on how to create interesting compositions? I'm having a hard time figuring that out. Thanks!

Hello! This is my first time posting a topic here. I made this fantasy illustration, but there is something about it that doesń´t feel right and I can’t figure out what it is. Any feedback would be appreciated!

This was my first go at drawing a big scenery with a lot of characters and without a lot of reference (I used some for poses, you might see some that I stole from Kim Jung Gi's drawings :D). I used an artist sign brush pen from Pentel. Tell me what you like about it and where I should improve. Thanks for the feedback!!

I find that I am constantly creating images only to have them "short circuit" half way through. This is the latest example of this kind of problem. I work traditionally and when I get to a point like this I start to really struggle with where to go with the image. I like the moon but it's not working with the rest of the image. I know planning and underdrawings would probably help but that often feels constricting. Any ideas on keep things spontaneous without crashing so much?

Hi everyone! I took Marshall's composition course earlier this year and have been trying to incorporate a lot of what I've learned into recent projects. This is a piece of fan art I did based off of the lofi girl on youtube. I feel like this particular one was difficult to balance because of how many small objects are on the desk. My goal was to make it look like she was being distracted by receiving a notification on her phone. However I don't really think that "story" came across. How do you feel this piece can be improved composition-wise? Thanks!

Hello guys! I've made some underwater compositions for a project and i'd like to know what you think about those and what's your favourite one! All the images are made pretty quickly and it's not really my confort zone (i'm more a portrait artist). Thanks and have a great day!

Hi guys!! I never dared to integrate character and background but that day has arrived !! And this was the result. I'm quite happy but I know there are many things to improve! I accept criticism ♥ by the way, there are always ducks hiding in my work haha ♥

Hi Proko Composition followers. Has anyone else read Molly Bang's book How Pictures Work? I am just starting it and wanted to start a thread to see what others opinions are.

Hi! Completing a picture is probably tough for many people and the same holds for me. Constructing a scene as opposed to just dropping in unrelated figures is one of the latest things that I'm trying to improve on in terms of having a "finished" drawing. Any and all advice regarding composition therefore is most welcome, especially in how to control lighting for a dynamic and integrated look. Thanks in advance!

Hello guys this is my latest piece What do you guys think about it? Does the foreground building look too crowded with detail also what do you guys think is the focal point and is the composition good or could it be better? Constructive Criticism appreciated.

I did a preliminary sketch which I thought worked, but the painting does not feel appealing to me. It could be going to color or something else, I just can't put my finger on why it does not work. I know it lacks storytelling, the idea was just to be decorative. Maybe that's the problem...any suggestions appreciated.

hello First time post, dont know is composition is right category for this, Any tips on How to learn And applyng Body language, (because There is soooooo much factor that contribute to overal Pose)

Hey there, fellow artists! How r u doing? I've been studying a lot recently to level up my skills. These are some of my most recent studies. I would be extremely thankful if u could spare some insight and knowledge so I could improve my next pieces! Thanks in advance

Hello. I did two iterations of this idea I have, first one from above, which turned out not great and then I checked how other people have done forest-scapes and did the second one where you're looking on the standing stones standing on the forest floor. I'd love critique on both these, but I also specifically wonder if it's inadvisable to do the bird view one? I could only find art in ground level view, but maybe didn't look hard enough... What should I focus on to get the bird view one to work composition wise as well as with values and such? I feel like the front view one is a lot better, but that's not the scene I want to portray, of that makes sense? Anyway, thanks in advance for all types and advice

Hi everyone! In this picture I wanted to convey the feeling of threat, with both characters simultaneously afraid and threatening each other. But I don't feel like I succeeded. Could someone please help? What would you do to make the composition more dynamic? Thank you!

Hello Fellow Creators. I heard something in one of Marshall’s 1994 Perspective course lectures that caught my attention, and made me curious what you all are doing in the early stages of your projects. He warned of two hazards of perspective, and the solution to one of them is to do compositional study first where you don’t think about perspective at all. That sounded great, and then in a follow up he said something along the lines of doing a compositional study - “a good abstract that carries feeling.” Yes! Magnificent!...only, what exactly does that mean? What if it doesn’t mean what I think it means, and I’m just making assumptions that won’t get me anywhere? How do you go about doing a compositional study? What is a good abstract that carries feeling? So how do you study (visual) composition? How do you do a good compositional study? Where do you recommend going to learn how to create good compositional studies? (I already have Molly Bang’s PICTURE THIS and Gabriele Rico’s WRITING THE NATURAL WAY) Thank you in advance for your suggestions and for sharing your knowledge!

Hey all i posted the work in progress earlier. Ive taken some notes and tried to applied them. I’m currently happy with the foreground but finding it hard to place and design assets for the background. The right background is particularly hard. Let me know if you have any ideas for assets.

Hey everyone. Drew a freehand sketch today. Though that I'd share it here. I'd love to have some feedbacks on what all I could add in this to make it more of a retro-gaming feel. Thanks

I see that this was discussed in the Draftsmen Podcast but I am sort of guy that thinks anything is possible and would have been cheering on the Wright Bros. I love space for this same reason. And ironically, space relates to this supposed topic I am putting forth. I am by no means a practiced proof maker for math theorems but since art invented the symbols for math, I still believe it is unnecessary to gain a proof where the 6th sense of self is assisted by such auxiliary information. Math is a tool and is not above the soul of the artist, because its birth is from his heart. Alongside all languages and symbology. ________________________________________ But my objective is not useless scope but application. By studying metaphor, I believe you are tapping the other name of "Pi". I think you can say to yourself, "I want ____ , ____, and _____ in my art. And then intentionally nest it up to always matrix a fun result. I will take a joking stab at procedural generation. When it is procedural from the computer side, it is conforming to regularity so that you recognize it and thus predictable and often off-putting. Kandinsky painted NOTHING in terms of direct representation and yet you are able to feel drawn to his work like hypnotism. That may be the work of primes. His work is often based on music and music is nothing but emotional math tempered to sound sad occasionally ahaha Imagination is a skill like any other and if you avoid math, you are not learning to think as spatially as you could be. Thus why Animators are encouraged to cross 2D-3D where possible. It augments your perceptions. To say that composition cannot be contained in math is pointless. I agree with it. Of course it can't. Nothing is static and all is changing. Composition is nothing but the study of time and relativity (which was proven TRUE in 2016 according to the LIGO center in Louisiana). So relatively speaking, everything is Gestalt Theory. Everything is a Zazen circle. All is metaphor at all times. Thus art. The math of metaphor is philosophy. The soul of art. Philosophically speaking, what if you took every idea in the world and made it into legos? Can you put them inside each other? Sanskrit nests its language like binary. Why not nest your lego ideas? That is how Kanji works in essence. Incessant of the present moment and it doesn't "lessen" when you get the "lesson" that that sound can be the same but the meaning different. At least I'm guessin... cause that's how Latin works too when I take your mind on a ride with A E I O U. ahahah There is a poem from China where the language is interpreted by the individual. The theme is a Forest and yet it generates infinitely. (lol Lost Woods?) Really every Japanese story is Primed because Buddhism comes from Hinduism and so Final Fantasy is in fact, the final fantasy. ahahh Prince 5 Weapons. Buddha. God. Man. It all blurs in math. Hence Joseph Campbell laughing so much in the end as well. Synesthetics have no choice but to be lego-brained, but I much prefer that it was understood and replicated as a tool. My theory is that Prime numbers are divergent thinking. Use Algebraic ideas on metaphors you are able to reduce the prime numbers issuing out forever like a 52 card deck in a shuffle. i.e. Convergent thinking. 2 like things. 1 unlike thing. 5 like things. 3 unlike things. 1 oddball thing. I think these natural combinations exist in plants and are thus pleasing naturally in some manner. Hence Kandinsky's ability to captivate with so little a topic at hand. Unordered, I think you just end up with a Jackson Pollock painting. That may have been his entire philosophy... to show you the chaos of the numbers. The method in the madness that makes madness methodical. Brunelleschi was also considered a little mentally odd if I recall correctly too. And wasn't it him that invented perspective on paper? Makes ya wonder why the Italian renaissance loved numbers so much too, but I believe they've been done to death TMNT style. What of Sengai and Yamaoka Tesshu? Where is Hakuin's laugh and my Daruma faces that Miyazaki likes to hide in his own version of Alice in Wonderland? (Sprited Away) What are you ideas on math in art? Does it prove itself like the shadow proving the sunshine? or is the sun and shadow one? Namaste.

Hello everyone, working on a new piece. It’s gonna be a 50cm x 50cm acrylic painting. Just want some criticisms or ideas i can add to the draft. I want the painting to convey a girl surrounded by innocent harmless creatures. Almost a young girls dream I attached what my style and end product usually looks like aswell.

Hey guys, i've still got alot of problems to solve in this piece, but before i do, i wanted to make sure the composition and perspective elements are all working at this current stage. Does anyone have some critique for me in that regard? Thanks in advance!

Hi all first post. I am concerned the leaves guide you eyes away from the main image. I am thick skinned so any suggestions are welcome.

I made this illustration for a contest. I tried to tell a story, nothing in particular, but to show that the main character is going through a bad time. This is the best I can do so far, but I do not think I will improve if not I receive criticism, so, what do you think? What do you think can be improved? I know that the proportions of the canvas are not the best, but it was what the contest was asking for. You can download the image and paint over it for indications.

Finishing up this piece but want to make it feel more dynamic. Anyone have suggestions for what to include?