justarandomguy
Magistrate
This will be perhaps is the nerd-iest thread I'll ever make, but if it helps even one artist eventually, I'll consider myself satisfied.
Disclaimers: First, yeah, sorry for always using Bruna's film, it's the only one I know almost frame by frame, and second, from now on I'll be hosting all my pictures outside of the forums.
If you have read other threads of mine, you know I make a fuss about contrasts and how they can enhance everything. When you want to make something look straight, put something curvy next to it, not only it enhances how straight it is, but also enhances the curvy element.
Here are some samples with a scourging scene form Bruna in "The passion of the christa" (2005), not the best, but I wanted to start slow, since the straight (yellow) isn't as strong as the curvy (red).
Here comes the good part, crucifixion art is one that has so much potential of using contrast, here are some examples:
In anatomy, it's known that females tend to have more curvy bodies, compared to males. This curvy physic makes for a near perfect contrast between her and the wood restraining her.
Now keep in mind, there isn't anything wrong with having the victim not have everything in curves, in fact, the breathing factor brings even more contrast.
When the condemned inhales, it has to pull up, where the legs and arms have to take on more sharp angles, and when they exhale and go to a "resting" position, where depending on how much movement range it was given by the ones who did the nailing, the legs bend and the arms exend.
Also, this contrast of lines can make for simple silhouette made of just three lines, that creates an iconic and instantly recognizable figure of crucifixon.
Remember that what I'm saying here is not a strict law of art, after all, you could ignore some or even all of the above depending on what you want to achieve with your artistic work.
Here is an example of a not as curvy pose, with Tuvalie in "If you were Jesus" (2010). While we still have the contrast of a curvy human against the cross, her pose doesn't exactly have the arching arms/legs, in fact, they are completely parallel to the beams, but your intention could be of:
"the cross is forcing her to adapt the sharp form of the cross itself, almost as if she is losing her humanity and becoming one with the wood". I know, some crazy mental gimnastics I pull here, but I think you get my point.
Before I end, heres a last example, to make for a little variety in my examples, with the works of the host, cruxdreams.
A fun detail, the cruxdreams "resting pose" may have even sharper angles, and when the girl gets up, the movements and poses are have way more curves.
I'm not an expert on these filims, but I'll do my best to do it justice with the line contrasts, with a model named (if I'm correct) Jenia.
Again, the range of movement range allowed by how you bind the limbs is the main factor in how the poses will look. In Bruna's sample, the placement of where her hands and feet are constrainted makes for this awkward middle position, with one feet on top of the other, making the leg with the feet on top bend way more than the other.
Cruxdreams goes for side by side feet, and tying them higher relative to the hands, which means that the "resting" pose will have the arms fully extended and the legs folded completely.
(The first picture is from this @Apostate 's post in "The Agony Component" thread, the rest are from makar013's deviantart page).
But when the model gets up, there is a huge range of movement that is the complete opposite of the sharper angles of the resting position, where the girl can bend in some really extreme curves, and sometimes... uhh, I dunno, it's a mix of everything I can't quite figure out hahaha.
Keep in mind, sometimes the same pose, but in a different angle may change the angles, the following pose from the front would look all straight lines, but from the side we can see the natural curve of the spine.
I hope I did justice to this style of crux and that I didn't annoy you with such a geeky analysis.
In the end, remember this analysis is not what is or isn't allowed, this is about what you like, what you want to do, your vision in your works, etc. Hope someone finds some help in the hidden details that can enhance what you want to portray, or just geeked as much as me about these subtle details.
Disclaimers: First, yeah, sorry for always using Bruna's film, it's the only one I know almost frame by frame, and second, from now on I'll be hosting all my pictures outside of the forums.
If you have read other threads of mine, you know I make a fuss about contrasts and how they can enhance everything. When you want to make something look straight, put something curvy next to it, not only it enhances how straight it is, but also enhances the curvy element.
Here are some samples with a scourging scene form Bruna in "The passion of the christa" (2005), not the best, but I wanted to start slow, since the straight (yellow) isn't as strong as the curvy (red).
Here comes the good part, crucifixion art is one that has so much potential of using contrast, here are some examples:
- Stiff - Flexible
- Blunt - Sharp
- Soft - Rough
- Innocent victim - Capital punishment
- Organic - Inorganic
- Stable - Unstable
- Curvy - Straight
In anatomy, it's known that females tend to have more curvy bodies, compared to males. This curvy physic makes for a near perfect contrast between her and the wood restraining her.
Now keep in mind, there isn't anything wrong with having the victim not have everything in curves, in fact, the breathing factor brings even more contrast.
When the condemned inhales, it has to pull up, where the legs and arms have to take on more sharp angles, and when they exhale and go to a "resting" position, where depending on how much movement range it was given by the ones who did the nailing, the legs bend and the arms exend.
Also, this contrast of lines can make for simple silhouette made of just three lines, that creates an iconic and instantly recognizable figure of crucifixon.
Remember that what I'm saying here is not a strict law of art, after all, you could ignore some or even all of the above depending on what you want to achieve with your artistic work.
Here is an example of a not as curvy pose, with Tuvalie in "If you were Jesus" (2010). While we still have the contrast of a curvy human against the cross, her pose doesn't exactly have the arching arms/legs, in fact, they are completely parallel to the beams, but your intention could be of:
"the cross is forcing her to adapt the sharp form of the cross itself, almost as if she is losing her humanity and becoming one with the wood". I know, some crazy mental gimnastics I pull here, but I think you get my point.
Before I end, heres a last example, to make for a little variety in my examples, with the works of the host, cruxdreams.
A fun detail, the cruxdreams "resting pose" may have even sharper angles, and when the girl gets up, the movements and poses are have way more curves.
I'm not an expert on these filims, but I'll do my best to do it justice with the line contrasts, with a model named (if I'm correct) Jenia.
Again, the range of movement range allowed by how you bind the limbs is the main factor in how the poses will look. In Bruna's sample, the placement of where her hands and feet are constrainted makes for this awkward middle position, with one feet on top of the other, making the leg with the feet on top bend way more than the other.
Cruxdreams goes for side by side feet, and tying them higher relative to the hands, which means that the "resting" pose will have the arms fully extended and the legs folded completely.
(The first picture is from this @Apostate 's post in "The Agony Component" thread, the rest are from makar013's deviantart page).
But when the model gets up, there is a huge range of movement that is the complete opposite of the sharper angles of the resting position, where the girl can bend in some really extreme curves, and sometimes... uhh, I dunno, it's a mix of everything I can't quite figure out hahaha.
Keep in mind, sometimes the same pose, but in a different angle may change the angles, the following pose from the front would look all straight lines, but from the side we can see the natural curve of the spine.
I hope I did justice to this style of crux and that I didn't annoy you with such a geeky analysis.
In the end, remember this analysis is not what is or isn't allowed, this is about what you like, what you want to do, your vision in your works, etc. Hope someone finds some help in the hidden details that can enhance what you want to portray, or just geeked as much as me about these subtle details.
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