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Glad you found something here, Julie.
There is so much material, so many sources, that it can be overwhelming. Most of us spend too much time searching for magic, instead of ensuring that the fundamentals are in place.
Fundamentals are the magic. (That's what Jay Moore means when he says "This isn't a trick.") The rest is either pure genius, which I don't happen to have inherited, or paste jewelry, which is in abundance.
Composition first, using lines and values and focal areas. Failing that, your 3- or 53-pigment palette is irrelevant, because you're icing a cake made of crushed glass and bent steel.
It will now be a long hiatus, but I will come back to post traditional and contemporary portrait images, or URL links, that exemplify attention to focal areas in the composition. I would encourage any other members to do the same here, whenever they wish.
By the way, focal areas and "sight lines," or movement through the piece, are related but different concepts. Multiple focal areas aren't "acceptable" simply because there's a "sight line" moving the eye from one to the other. That's what Jay Moore is warning about, when talking about the mountain-river-tree movement of focus problem.
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