Back to sketching again! This exercise is all about realizing what you see when you're looking at something and becoming aware of what's in the frame and how that influences your view.  

Man in the shop

Man in the shop

In this sketch I wanted the man to be the man object, and especially show movement in his hands to stress the active conversation. I left out a lot of elements of the shop, but did add a vague customer in the back and a sign with money on it. I want the viewer to be aware of it, but not see. I did leave out more elements of the shop and maybe other customers.

In the first image I only wanted to show the door and only what you see yourself when you knock on the door. The fact that the hand is visible tells enough about what's happening in the frame. I did want to add a few details to show that it's a front door of somebody's house and not just a regular door in an office or something similar. In the next image I decided to show what you see after you knock on a door. Normally I take a step back and there's more visible of the door. Depending on how long the waiting, I could have added more information of the hallway. I have added some details of the mat and a lamp that you'll find in apartment buildings. The last image shows how somebody opens the door. I decided to let it be a smiling, welcoming person, to show that the one who knocks on the door knows and likes this person

It's difficult to draw a passionate conversation. I did add some arm movements and put the figure in the center of the image to draw the attention. But I did not want to leave out the background entirely. Maybe because I always get very distracted and can never completely focus on a person in a conversation, I didn't want to draw that in my sketch either. In the second image you can see the figure falling out of the tree behind the subject. I tried to show what happened and how the focus can shift from one thing to the other, even when the viewpoint is exactly the same. 

I find the sequence with the door the most convincing. Because you can use more frames to show an in itself uncomplicated action, it is possible to convey much more information in what's happening, how the person's feeling and an atmosphere in the story.  

The combination of facial expressions, the subtle use of showing what's not and what is in the background, sharpness of most important aspects in the frame and focusing on what element of the view of the character you want to show makes a subjective sequence convincing. 

Changing focal points and blurriness of areas in the frame brings atmosphere and tension. If there's more in the frame than the obvious, it triggers the viewer to be curious about what's really going on and being more aware of the environment than the pov of the character in the movie.