A picture from the 1974 adaption of Murder on the Orient Express. Films are a great source of motives, both in terms of scenery and facial expressions, but in particular of interaction between people. While I can draw a single expressive figure, I often find that quite difficult to draw to or more people interacting. They often end up not quite looking each other in the face or somehow not being together though there are on the same page. Also, when you have use a film as reference instead of a picture, you feel the mood and the tension between the characters better and I think it shows.
An extension of this exercise could be to take an entire scene and convert it to a comic book page of 4-6 picture.
Gry, I'm really pleased you went back and did this as I love your work. Your comments are interesting and very true. (I had the same issue fitting Rachel McAdams in with RC and HM - she seemed very remote from them.)
ReplyDeleteHere, this has worked in your favour as I suspect he is Hercule Poirot (is he?) and, although he's lovable, he does have difficulty relating to others. I'm fascinated by the hands - his RH is aggressively stifling her scream while her fingers dig into his wrist; however, his LH is gentle and supportive so we know he means her no harm. There is so much to be read into this and, even without knowledge of the title of the film, one could guess what had occurred. That makes this a successful work of art.
As Poirot might have said: 'Magnifique!'