Over time I realized that it could be the most realistic and detailed in the world, however there were paintings that aroused interest and made you want to observe and others not.
In my constant self-criticism I realized that the composition was a fundamental part of this problem to which I had to dedicate time to achieve better pictures.

>It sounds complex but it is solved with a simple question:
"Which part of my painting do I enter first with my eyes?"<



How do I want the viewer's visual path to be in my work? Where do I want the observer to "enter" the painting and where do I want him to "leave the painting"? It is definitely the "path" that the eyes will trace naturally to see the entirety of the work.
How do I put that on paper? Well, I make a simplified sketch of my creative idea and draw on it the path I want it to follow.



This eye-journey, in addition to establishing my composition, also defines the strategy with which I will work.
The starting point of the course will be the one in which I will concentrate, I will dedicate all my initial energy to achieve super definition, it must be perfect.
On the contrary, "the starting point of the painting" may be more blurred and out of focus that I will work at the end of the work, when I will also be more tired.