11 CHOOS­ING THE MO­MENT OF AC­TION

ImagineFX: Sci-fi & Fantasy Art magazine - - Artist Insight | Composition Skills -

Nat­u­rally, this can be im­plied by de­pict­ing an ac­tual ac­tion – run­ning, punch­ing, jump­ing, say – but it can also be ab­stractly im­plied with cer­tain graphic sym­bols, such as mo­tion lines or blurs. Ac­tion can also be im­plied by its af­ter­math: the man stand­ing above an­other who’s dazed and hold­ing his bloody jaw, for ex­am­ple. I find that the most in­ter­est­ing ac­tion is ei­ther be­fore the mo­ment of cli­max (po­ten­tial) or after (what just hap­pened?). Imag­ine the wind­ing up of a punch or the guy fly­ing away from the punch. This means that the viewer can fill in the ac­tion, and they cre­ate how dy­namic it is in their heads.

Ac­tion can be ab­stractly im­plied with cer­tain graphic sym­bols, such as mo­tion lines or blurs

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