I went through all the design elements defined by SVS and studied how N.C. Wyeth used them.
The original image: The Passing of Robin Hood
Rule of Thirds
There are no major elements directly on the main intersections but the torso of Robin Hood, his arm and bow take up the whole lower right intersection.
Image Edge / Lines
Here Whyeth is using all the horizontal and vertical lines as a contrast to the center of interests which is made up angles.
N.C. Wyeth is know for having interesting negative shapes.
The angle is straight profile and using 1 point perspective for the room. Again he is simplifying the architecture as contrasting the figures against it.
Exit Lines / Drawing Through
None of his exit lines are happening in the corners and none of the existing exit lines pull us out of the design.
Small, Medium, Huge
There are not a lot of separate elements here to represent the design principle but I used it to group major elements of the design into a hierarchy. The shadow shape is one continuous interesting shape. This be super important when we look at framing.
Straights and Curves
The entire illustration is made up of straight lines except the bow which has a very elegant curve. Even the figures are made up of mostly straight lines. The only other curves are the bead sheet edge. This works wonderfully in setting the bow apart from everything else and the center of interest.
I could only find one tangent in the painting. If N.C. Wyeth would have made the window a little wider on the right side it would have fixed it.
Leading Lines and Focal Point
I love all the leading lines here! The light cast on the wall is the most prominent. The window frame, the arrow, the bed sheets, the arms of the attendants. All of the are pointing to the focal.
Also if you run a line from the top of the head of the figure on the right to the fee of Robin Hood and back to the feet of the bottom figure on the right you get the perfect shape of an arrow head. Amazing!
This is fantastic. I’m wondering why Wyeth decided to place the figures bunched up in the right side of the image. It’s dangerously close to feeling imbalanced. He uses the figures and the bottom of the bed to create a frame around Robin Hood. But if he left it there the top of the design would be a perfect place for the viewers eye to leave the canvas. So he put a ceiling board there to keep everything surrounding Robin Hood. The left of the picture is completely open allowing for the light to come in a space for the arrow to pas when it’s released and almost as a passage for Robin Hood himself.