Robotics;Notes’ OP single cover artwork has been shared for all to rave over – as with anything regarding the series, the illustration is above average, and beyond exquisite, bewitchingly featuring the leading heroine.
Several aspects of this work are absolutely stunning and overwhelm the senses before all else – the first being how contrast exists on multiple fronts. The lovely female subject matter is positioned out of center vertically, and informally balanced horizontally – a careful consideration of placement which is only the beginning. Exhibiting expert skill as if it were child’s play, the artist sketched her out so one can see that she’s arching over a bit, and this in spite of the fact that the perspective is delivered in a top-down “bird’s eye view”.
To overcome the angling and illustrate the complex shape required for the human body as seen from this point of view is pure mastery – and more so transcendental does it become when taking into account the other relevant factors which play a role, and also serve their own. Her skirt and other elements of attire react accordingly with her movement – ruffles and wrinkles are present on the textiles, and while her clothes do outline her physique, one can still feel their flutter, the loose flowing qualities of her seifuku in the wind.
A shadow asymmetrically applied in the bottom corner divides the image into distinct portions, and notice the curved double yellow stripe of the road just across the shadow’s boundary – these not only make use of negative space, but further solidify the informal balance, as well as aide in establishing the rule of thirds in relation to the focal point.
Our foremost center of attention is not the arm of this charming schoolgirl, even though her arm indeed appears prominent with foreshortening – yet it is her visage. The sheer beauty of how her face is portrayed can nearly incite insanity as it simply drives the mind feverishly wild at the unprecedented creativity – in a typical composition, the visage would have been plainly given to the onlooker, it would have been the foremost facet of the artwork, and it would have sat in the top layer.
In the case of this piece however, various characteristics act in conjunction to show off her face – her arm leads up to it and contributes to the imbalance, likewise the background’s segmenting of shadow does much the same, not to mention that her body’s arrangement gives her visage the center of the stage. An unorthodox move, her face is doused in a diminutive hint of overlaying shadow, and the surroundings have been made intense in light – the exact opposite of the norm, a livid face, and a dark backdrop.
The exceptional complexity which builds the visual setting for her visage is akin to the endless intricacies of having a singer on stage – a slew of factors have all been tuned to precision to ensure that the audience, us, are all affixed upon the singer, or in this case, the desired center-most detail of her face.
This artist’s preferred combination of specifics is far more realistic – and what’s more so impressive is how no limits were applied. The struggle to achieve a perfect rule of thirds does not stop at the background, the girl’s pose, or the positioning of her hand – her hair covers half her face, and the remaining single eye visible is what comes forward, the central point of focus, and one which is immensely gorgeous.
Through a vehement showcase of artistry, this single visible eye, alongside a grin formed through teamwork of an outgoing personality, and an overabundance of blazing UV rays, surpasses the satisfaction which even the greatest of ero-suggestive imagery can provide.