not working on a book, but trying to learning to simplify and more cartoon type ....suggestions please.
@Cheri-Homaee i guess the image didn't upload
Peter Jarvis last edited by
Hi Cheri, I hope you are well.
Are you wanting critique on the concept, style and/or technique?
As most beginning artists/illustrators I have a problem critiquing someones work. I don't know enough yet.
But the one thing I have as a mantra as I am illustrating is "don't forget fundamental shapes" and learn anatomy of the subject matter. Will explains this in most of his videos. It really helped me progress.
Something I do as I am drawing is; squinting. It helps to make sure the image reads well.
I hope this helps.
Keep up the great work.
Have a great day
Maile McCarthy last edited by Maile McCarthy
Hi Cheri. I really like where you're going with this piece. From the way the characters are interacting, it's clear that you have a good understanding of 3d space. There's a sense of depth to the characters that reads well for me. Your composition and use of negative space also seem balanced and pleasing.
I also really like the subtle colors and texture of the background. It feels like a foggy evening to me, creating a sense of closeness and calm. Is that what you were intending? For some reason, I really find myself identifying with the mouse peeking out from behind the lily pad. I feel my own curiosity piqued, find myself asking: What is the relationship between the mouse and the frog? What adventure are they about to undertake?
I think this piece could be even better if you spend some time looking at your line work. I do think line variation can add interest, so I'm not suggesting you make everything the same. However, this can be done in a purposeful way. For example, why does the outline of the mouse's tail suddenly become lighter and softer at toward the tip? I notice that the reeds and the curious mouse drawn in thin scribbly strokes, the lamp is drawn thick and almost wet-looking, etc.
Same goes for texture. The bumps/wards on the frog's skin contrast so much with the smooth surfaces of everywhere else, they really grabbed my eye. This might be a good thing if the wards are supposed to be the focal point. Was this your intention? If not, you might try painting them in a less-rough manner.
Hope that helps! I'm very much still learning all of this myself, so take it with a grain of salt.
@Peter-Jarvis Thank you. As an artist I don't critique unless asked and since cartoon or non realistic drawing isn't my thing I do need help
@Maile-McCarthy Thanks so much for the critique I guess I should have paid attention to line work. The weird thing is when I am trying to accomplish one thing I don't think about other things. Need to create a check list. The texture was last min. and was trying to see how it fit in the picture maybe not so rough and standout. thanks a bunch.
Maile McCarthy last edited by
@Cheri-Homaee I love the check list idea. Will has mentioned that too, although I've yet to implement it. So hard to figure out just what to include.
Jake Parker last edited by Jake Parker
I love the concept, I just think it needs a little structure. Some of your forms get a little wonky. @Maile-McCarthy has such a great critique that I don't think I could add to it without doing a drawover. So here you go. Pay close attention to the mouse skeletal structure. Understanding that kind of stuff really helps when you need to put the animal in different poses.