Overall the work Is solid and I could see you getting work in storyboarding pretty quickly. Your drawing skill seems professional and your design sense is good. : )
That said, the illustration style is too dominated by the caricature style and the overall site isn't really clear on what you want to do. You should limit your professional style to one or possibly two things, but to do professional illustration, caricatures, comics, storyboards, children's books, and visual development comes across as unrealistic. This can turn clients off big time, so I would suggest narrowing it down.
If you want to do illustration for a living, you may need to look at current illustration styles and lean away from the caricature style a bit. Same thing for children's books.
Overall very impressive offerings and you are off to a great start!
also, here is a quick color pass. I did this using my finger on my laptop trackpad, so it's not very accurate, but it's a start. I wanted to simplify your shapes and separate your character. Maybe go very dark with your values and details on him so everything doesn't look like that muddy middle brown tone. Just a thought....
I'm taking the leap and sending a potential client an estimate for a picture book project (self-published). The thing is, this would be my first picture book (and professional gig). I've been so focused on polishing my portfolio/taking classes/etc. that I haven't yet had the time to dedicate learning as much of the business side such as estimating, contracts, etc. as I'd like. If a veteran illustrator out there is feeling generous, would you share an example of an estimate that you've sent to a past client, as well an outline of your process?
@alexsen I pre-ordered one of these in August and they keep delaying the shipping date. The latest word was that they are supposed to start shipping in April. If I ever get one, I'll let you know how well it works.
There’s nothing wrong with having more than one style (repeating it to myself every day as a mantra, because I really struggle with that myself - despite all evidence that it´s not a problem) and which ones to focus on really depend on many factors. What project is it? What is catching people’s attention? Which pieces/style generate leads and which don’t?
That said, there are a few things that catch my eye that I throw in for your consideration. I`ve seen lots of your art in the past years on the forum and all of it is very polished and very professional, and you clearly have lots of skills. Your drawing skills are amazing and this is probably something to capitalize on: when you give more emphasis to the linework (like in your inked pieces and basically all work here except the first two) I feel the work is more impactful and more „alive“.
There is one aspect that I would think about: the way you do faces feels a little too formulaic. What I mean is that you have a shorthand for faces (which is good for speed, for sure), but they end up all looking the same, regardless of age, situation or character. I feel this could be a limitation potentially, especially given that you define character so well with other elements: physique, clothing and props. I think experimenting with different ways to express character through the facial features could elevate your work regardless of style.
Another aspect to consider is what at school they called „appeal“. We had lots of discussion about that, in many different courses. It has nothing to do with cuteness or even with a character being good or bad, and there are no concrete definitions of it...it´s more a „you know it when you see it“ kind of thing. So I know it sounds vague and undefined when I say that is something to think about. It affects characters particularly, but also any animal or object that can be thought of as a character. I guess you sense it when you say your character end up „evil-looking“. I think the word is „less appealing“. Maybe a way to say it more concretely is that there are elements in your drawings like teeth singled out, tongues sticking out, extreme positions of hands etc... that make it more difficult for the viewer to „stick“ with your image and feel a sense of identification with your characters. Maybe an artist to look into is Scottie Young, particularly his „I hate fairyland“ series, which features a thoroughly evil and unhinged but very appealing character.
So, after all this rambling, my personal draw is to the crow on the sword and the howling dog. Those pieces sticks out for me as the most appealing of all and the most suitable to children’s books. Whatever you decide to do in terms of style, maybe it´s worth exploring that one with human characters, environments etc, and see where it takes you?
I have the same issue with my scanner. I guess that's just how scanners are--- they mess up the artwork. I have never found adjusting the scanner's settings to be helpful though. I have, however, learned that the best way to solve this issue is to edit the image in photoshop. What I do is that I hold up my illustration next to my monitor and I try to tweak the Color Balance, Contrast, Vibrance, and sometimes, Curves until the image on display is similar to the one I'm holding. You'll need to do a lot of trial and error with this process but you will get there. There is no fixed way to go with this. It all boils down to how you feel about the image. I hope this helps.
Thanks, Lee! I just got worried something was wrong with the board and maybe it wasn't coming through. I got kinda freaked out about the assignment but then after I re-watched the videos, I figured it out. Thanks for getting back to me. :)
When I was doing licensing years ago (paper products, greeting cards) I owned the copyright of the images which was spelled out in the contract but if I remember the copyright legalities were handled by the licensing company. I'll see if I can find the contracts.
I discovered another method by accident: I was messing around with new apps and realized that an animation app also works for this if you turn off the onion skin. I can do a sketch in a frame and quickly add a new frame on top of it, and if I want to look at all of my gesture sketches (to see, for example, if I'm improving at all), I can look at all of the frames in the storyboard.
I still prefer Procreate for real sketching but for the 30 second gesture sketches, the animation app works well.
@taru If it is a personal piece I will eventfully flatten it down and work on top for the final. On occasion I do commission work and then I always keep my characters, BG and foreground separated so I can make easy changes. One tip if you find having too many layers hard to manage then try using folders to keep them organized
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