blocking: HORIZON LINE PART 2

The horizon line studies continue! I wanted to turn my attention to Bob Peak to see how he handles horizon lines. And looking through his work, I found it differed from Struzan’s.

Below, I found two examples neither by Struzan nor Peak that show the difference between their approaches. On the left, an example closer to what Struzan uses for the horizon line (at or below the waist). And on the right, an example closer to what Bob Peak uses (horizon line at or above the main character’s head).

Below are two example from Peak that show how high he can favor the horizon line in compositions:

Bob Peak also includes a high horizon line within is Spy Who Loved Me poster:

Within the orange Egypt composition:

One of the benefits of Bob Peak’s high horizon lines is that they can intersect with the head of a character to draw the eye even more with the directional force. As seen below:

What I found interesting is that Bob Peak does not always need a high horizon line in frame to achieve this. In Bob Peak’s olympic paintings below, he creates lines in the ice, clouds or structures to intersect with the heads to draw the eye:

Lastly, Bob Peak uses the same line strategy to go through Brando’s head on Apocalypse Now: