What a great way to end off your speed painting month, with this great new look at Felaryas main character. The result of putting so much focus into developing your painting style recently shines through here .
Your compositions are always strong but this one still surprised me greatly with how you arranged it! This is probably one of the most original methods of creating a V shaped composition I have seen in a while. Using the trunk of that brightly lit tree to the right coming closer to us for one side of the v, and the river flowing down and away from us out into the clearing on the left to create the other side. It's a pretty genius move in using two aspects which interact oppositely in their relation to the picture plane to form the compositional base .
Then we have Crisis herself presented right at the top of the V, her horizontal orientation creating a triangle, guiding our view in a cyclic pattern around the scene, then you have her hand framed in the center of the triangle. These two formal aspects combined really help the context of the image, my view tending to look all around the triangle as if for a place to escape being caught! Along that same line I love how you've placed crisis' face blocking the possible view of the outer expanse' where otherwise (despite the extreme height) we might have seen as a sort of a passage of escape, but is instead is blocked by crisis' warm open mouth smile which has that same sense of freedom about it in her carefree expression, but knowing the context of felarya, is also unnerving .
The tension between the two sources of peril is a very well created aspect to this work that I really enjoy. We have both the insanely high, organic cliff we are positioned on and a hungry giant naga jumping at us! This tension I feel is manifest best in the bottom middle area where we have the two forces contesting with each other through crisis' outstretched hand and the darkest part of the crevice right below it.
The dark drop below, for me is definitely the more scary of the two at first sight and really makes crisis hand all the more welcoming, especially tied in with her playfull expression. If I didn't know better I could almost assume that I was being rescued . But then you've also put that darker shading on her hand, reminding me of the fate connected with falling into that grasp and also the imminence of its approach which sends me looking once again for an escape, which is, again, where that triangle composition really starts working.
Crisis is presenting herself awesomely in so many ways that come together to really solidly show her character and body together as a whole. Her blown back hair and the fluttering leaves around her communicate so well the speed of her lunge, showing her youthful activeness. Her far arm already stretching to grab the trees on the other side of the cliff lets us know of her finessed control of her movements showing her practiced technique of treetop navigation. Then there's also her implied bursting from the thick vegetation and the revealing of her snake half, which really pushes her wild and predatory side. the decision to include a scale pattern on crisis' snake half is an interesting one I like it, but I feel it just needs a little more developing to coincide with the curves of the surface rather than being a flat texture.
The foliage in this one is rendered just awesomely, it really does feel like a real overgrown environment! The variance in shades of green, their organic layering and arrangement and the implied dark depths within the leaves, it really does make the scene feel truly wild! I especially enjoy the implied overhanging canopy created by your lighting and that bunch of leaves drooping down in front crisis' hair , it makes the whole area feel sort of like an enclosed cave of leaves. And then you have the slight filtering down from above and the side giving a very warm summery feeling to the image.
As for improvement on this one, its mostly on the smaller aspects of the environment that could be tweaked to further the illusion.
The one things that drew my attention as sort of disharmonious was the rendering of the landscape out in the distance, it feels a bit too inorganic compared to the foreground elements i think. like there's a field and then all of a sudden a line of trees that starts very abruptly. Personally I feel as if the clearing itself is out of place considering how forested the foreground is, and I think the work might benefit from rendering that area as if it were jungle treetops, especially when you consider the densely forested setting around Crisis territory.
and concerning the foreground elements...
There is a small spot at the top of the foremost tree trunk that I feel is rendered a bit strangely and I'm having a hard time placing exactly what it's trying to describe, whether its vines wrapped around the trunk, or if the top of the tree is broken off, or if the trunk is just extending up into the shadows.
The larger red birds is another thing that's throwing me off a bit, they seem just a bit blobby, I love the large brushstroke aesthetic you use in your paintings and i don't think its necessarily more detail that they need, but perhaps instead just a finessing of the general shape of their anatomy. The concerned looking green tiger thing feels as if he has much more structure and I can more tell what its up too, while with the orange birds it's a bit hard to tell their orientation and structure, its a small point but I do notice it, especially since their so close to Crisis adorable face drawing us in to look closer .
Altogether This is definitely my new favorite of your works and has really renewed by liking for Crisis . The sense of movement distance and size you've managed in this one is really compelling, there are little tweaks that could be done to improve it, but the initial response was complete captivation Awesome work! And very inspiring for my own artistic practice .
This is another beautiful picture; I can't speak for the technical elements, though the lighting is gorgeous, but what really strikes me is the impression of speed. We don't often get that; we are *told* that Felaryan predators are fast but most pictures show them at rest, enjoying a meal. This is the first one that I've seen which conveys that sense of grace and strength. Moreover, once again you've managed to capture scale perfectly and yet the contrast of a truly gigantic predator moving through tree branches is amazing; again, it's something we're told about, but rarely see. Finally... well it's Crisis; she's always a pleasure to see and the look of joy on her face is infectious. I can't tell if she's just moving through the trees and happened to see a snack, or if she's merely reaching for another handhold and glad to be alive. Either way, it's a stunning picture. Thank you.