casey

Five thousand years ago, the Sumerians called the night ngi, the stars mul, and the moon Nanna.

Four thousand years ago, the Akkadians called the night mūšu, the stars kakkabū, and the moon Sîn.

Three thousand years ago, the Hittites called the night išpanza, the stars haštereš, and the moon Arma.

Two and a half thousand years ago, the Greeks called the night nux, the stars astra, and the moon Selênê.

Two thousand years ago, the Romans called the night nox, the stars stellae, and the moon Luna.

Kings and queens and heroes looked up at them. So did travelers coming home, and little children who sneaked out of bed. So did slaves, and mothers and soldiers and old shepherds, and Sappho and Muršili and Enheduanna and Socrates and Hatshepsut and Cyrus and Cicero. In this darkness it didn’t matter who they were, or where they stood. Only that they were human.

Think of that tonight, when you close your window. You are not alone. You share this night sky with centuries of dreamers and stargazers, and people who longed for quiet. Are you anxious? The Hittites were too: they called it pittuliyaš. Does your heart ache? The Greeks felt it too: they called it akhos. Those who look up to the stars for comfort are a family, and you belong to them. Your ancestors have stood under Nanna, Sîn, Arma, Selênê and Luna for five thousand years. Now its light is yours.

“no that’s not dramatic and cheesy enough”

“getting warmer”

Drawing A to Drawing B: -the most obvious change is the exaggeration of the line of motion in the character.  

In Drawing B the line of motion is much more pronounced, creating more drama and movement to the whole composition

-The arms are open wider, showing more confidence and exuberance in the character, exaggerating their emotions so they can be more clearly read without having to look to the face for emotional cues.

-the legs are wider apart, adding to the aforementioned confidence but also giving the character a solid foundation, visually speaking.

-The head is tilted back and overlapped by the chest, adding a touch of dynamic perspective to the drawing.

Drawing B to Drawing C:  -Most obvious change is to zoom in on the character.  Character framing is just as important as what the character is doing.  Zooming in can help infensify emotions.  this shot is ALL about this character and what they’re feeling. -Because of the zooming in, the arms/hands would have gotten lost, so instead of making the canvas wider, the artist has elected to rotate the character slightly, bringing a dynamic angle to things and more intensity to the close shot. -While the character is more upright in this shot compared to Drawing B, in Drawing C the chest still slightly overlaps the neck, preserving the feeling of being slightly below the character (putting them in a position of power relative to the viewer), which helps maintain confidence and power in the character. -the chest is exaggerated to carry the majority of the body’s line of action so even though you cannot see the legs, our brains are able to fill in the gap and envision that line of action. -The cropping/framing of the character allows for a more interesting composition/negative shapes created by the positive (character) on the negative (background), creating more visual interest as well as a circular motion to the composition through the arms, across the face to the negative space for the eyes to rest in before dropping to the hand in the background and back through the composition again.