Continuing from yesterday’s topic, I’d like to#nbsp;share with you two elementary tools that were instilled in#nbsp;me#nbsp;during my#nbsp;study of#nbsp;academic drawing in#nbsp;architecture.
The concept of#nbsp;a#nbsp;disintegrating composition exists. It’s when you look at#nbsp;a#nbsp;technically clean work, but something causes a#nbsp;dissonance and a#nbsp;feeling of#nbsp;the work being unfinished.
To#nbsp;be#nbsp;sure of#nbsp;this, you need to:
Squint strongly and look at#nbsp;the blurred spots of#nbsp;the work as#nbsp;a#nbsp;whole. If#nbsp;there is#nbsp;a#nbsp;compositional imbalance, you will notice it#nbsp;immediately.
Turn the work 180 degrees. Nothing invigorates and surprises quite like your own reflected portrait. It#nbsp;seems like you, but also not) It’s a#nbsp;similar story here. By#nbsp;turning the image, you literally evaluate the frame from a#nbsp;different angle, cutting off the primary meaning and paying more attention to#nbsp;the composition of#nbsp;the frame. If#nbsp;there are any falling dominants and imbalances in#nbsp;the work, they will also immediately become apparent.