Worst Fear- That your dad was responsible for Bambi's mom.
Oh, wow. Just want to say thank you to all of you who helped steer my illustration to what it became. I was lost with it for a while! And a big shout out to Tyson, who I know was feeling a bit down after the last competition. He makes really good work, and it paid off for him in this particular competition! Good job, Tyson!!! Congrats to the rest of the finalists and to everyone else; there were a lot of amazing pieces that I think could easily have taken 1st place right along with me.
Hi! I thought I'd post my Inktober project here. I'm following the official prompt list and doing a continuous story line. My style and execution are a bit all over the place, but learning a lot with this project. I love being apart if Inktober and seeing what everyone else is coming up with and it's cool seeing all the different styles you can achieve with ink.
To any of you who may have seen some of my Inktober stuff on Instagram, do you think the descriptions I've been adding are a good thing? Or should I just post the picture and not add to the story with words?
UPDATE: I'm going to throw pieces here as I complete them.
Soooo. . . . I don't have a portfolio. The past few years I've been having babies and trying to improve my art skills when I can. I've recently started doing art again now that my baby is over a year, and I finally feel ready to start trying to compose my own work (rather than just study). I thought I'd post work here as I finish it to see it all in one place and hopefully recieve feedback. Critiques are definitely wanted and welcome!
Here is one piece I feel might be portfolio ready, which I completed last year, though I might need to update it.
Here's a couple of freshly done pieces:
I have a lot of ideas that just need to be worked through and completed. I'm really not sure if I have a style yet or not, but at this point I'm just going to worry about getting things done and hopefully I'll see some indications of what I should work towards in terms of style.
Hello all. I'm working through the exercises for the Creative Composition class. I would highly recommend this class, btw, if you haven't taken it. The exercise is to include 25 things in the comp, and at first, break down the piece into simple value patterns. The prompt was basically: a salamander hiding from a squirrel. This is my second pass through in my thumbnail process and I will refine the line drawing and the values within each value zone even more. Hopefully it's fairly readable. I've tried to break it down into four different zones, 1. The foreground with the rock, salamander, and ferns. 2. the squirrel/girl area 3. the camping area 4. The background is supposed to be a forest with 2 cliffs and a bridge connecting them.
Any help on how to improve this would be greatly appreciated!
Ok, I worked on it a bit more. Hopefully you can tell the difference. . . and hopefully it's improved somewhat! I feel stretched to my skill-capacity!
Here's the last version posted:
Here's the updated:
Edited- Changed out the photo, because I forgot to fix the couch, as @Chip-Valecek suggested.
I'm getting pretty close to wrapping this painting up and would like some feedback before I make the final stretch. I still need to do some general clean up, bring up some values and bloom light from the tv, and add a few details like wall panelling and popcorn spilling onto the floor.
I was wondering a few things.
-The ottoman in the foreground- not sure how big to make it. In my mind I imagine Will Terry saying to make it bigger, but I still have trouble knowing if foreground size relationships are working.
-How does the tone come across to you? I want it to feel creepy, and humorous, but not over the top.
-Would you add more props to the room, like pictures on the wall, tv antenna, blanket on the couch, etc?
-Any other thoughts on how to make this better?
Wow, this is such a fun piece!
I do have a couple of thoughts. First, I think that the values could be pushed further to really separate the background from the foreground. Second, I think you can harmonize the colors a bit more, thinking in terms of yellow vs purple. So perhaps warm your greens a tad (bringing the more toward yellow) and go a little further with the purple in the shadow areas, and maybe distribute some of that purple onto some of the foliage throughout the piece. As you render the frog, try to make him pop out more, so he has more contrast than the crocodile. I would also think about making the crocodile a bit smaller so she appears to be farther back, just to create visual interest.
Hope you don't mind that I did some adjustments. I lightened the sky and brushed some of the yellow from the sky onto the background elements. Then I put a yellow filter over the whole thing and brushed more purple into the foreground.
Again, really fun piece. You are really cranking them out. Good job!
Thanks for the input, everyone! It helped a lot. I worked on it a bit more. I'm thinking it might be too dark overall and maybe I should lighten it?
Do you think I need to refine the line work even further? I don't intend for it to have linework in the finished illustration- or if I do, it will be subtle. Not sure how to proceed at this point. Also not sure how to transition to color. I think I'll save that for after I've taken a few color courses here.
I'm going to ask you to consider a different possibility. I don't feel that the image of a missing piece from the baby carriage really illustrates the concept you are going for. I think if you did a simplified 3d puzzle of a woman, with a missing baby shaped piece from her, it might get the message across more clearly and impactfully. Here are some reference images that I think you could base it off of.
If you are sticking with your original design, I would darken the occlusion shadows on the portions on the sun cover and the wheels. I know you probably lightened them because the value of the object is lighter, but that wouldn't really have an effect on occlusion. Notice how the occlusion shadows are all nice and dark in the image below, even though the puzzle pieces are white.
Laying in some colors. . . I'm always nervous starting the colors!
I would say that for this particular drawing, it might be difficult to implement the bounding box because the position of your character is tilted and his limbs are spread forward and back. I feel bounding boxes are more helpful in a less extreme pose- though I could be wrong. In this case you would need a working knowledge of what objects look like in relation to the horizon line, but I'm not sure how much a bounding box would be helpful.
I've taken naked doll bum again and approximated the general pose the guy is in. The first photo, I have my camera almost above the doll, and this is how I envision how you are showing us the scene. Then I have progressively lowered the camera, until the middle of the figure is about eye-level. I have not changed the position of the doll or where I am standing. Sorry for the image quality.
This is how I envision the bounding box and the horizon line. They may not be 100% accurate. . .and are just approximations.
This is a tough subject, and I'm sorry for what you are going through. I'm blown away by some of the other responses to this post. They've articulated ideas that I've recognized in my own life, when it comes to this subject.
First I want to say that I can empathize with a lot of what you are saying- wanting your art to fulfill a purpose but not finding something that feels worthy, not being able to commit and focus your art to one thing for very long, and not creating enough art.
Here are my thoughts on the matter.
I think some people are very good at first choosing an art career, and then letting that career path inform their studies and guide them in creating their own voice as an artist. They may just know right away what strongly compels them or they may be purely pragmatic, but they have the mindset to stay the path all the way to the destination. Their career may change down the road, but by that time, they've put in the work to have created their own voice, and that acts as their guide going forward. They've created connections and made themself known, and that has opened up more opportunities for them. They may or may not have been concerned with what their art was contributing to the world at first, but now that they have the skills and their own vision, they are better able to make work that's more meaningful to themself and to others.
I think other people just get lost and stressed when they try to monetize themselves as artists at first. They need to put more time in developing their own voice as an artist, they need to reach a certain level of competency in order to execute what compels them, and they need to do art without monetization influencing their decision making. They need to play, grow, develop their own ideas, put in a lot of art mileage. They need to share their work more. As their own art voice emerges, that's when the path becomes more clear and they can set better career goals and do work that they define as meaningful, that has a purpose. I suspect you may be one of these people, and instead of exploring your own ideas, you are spreading yourself thin trying to cater to things that aren't important to you.
I think it's also helpful to remember that people who you may envy, that having paying art jobs, that look like they have everything going for them, are sometimes dissatisfied with what they are doing. They would rather be doing work that inspires them, but they are stuck doing art jobs that suck their creative energy. They are trying to find ways to move away from their current art career to be able to do more work that relates to their personal interests in art.
So my advice would be to take the time to play, work at your skills, and most importantly, explore your own ideas. Research how to spark creativity, and use those ideas to explore your personal voice. Having a non art job to pay the bills can be a blessing, if it means you can focus on exploring your own ideas. I would also challenge you to watch Jake Parker's video again, and actually make a product this time. Remember that the point is to finish something, and the focus should be on something you want to do. Don't try to make it because you think it's something someone would want or buy. Make a product that inspires you as an artist. If you need it to serve a purpose, make the purpose be that you'll have a finished product that allowed you to explore your own ideas.
Anyway, I wish you well and hope you will post more here, if that will be helpful to you. Good luck. I hope you can find a way to make work that interests you and that you believe in.
The perspective on the house is not perfect, but I kind of like the effect it gives. Not sure if you intended this or not, but the deck on the right of the piece looks like a ramp that is going on an up angle to a different level, and the side of the house makes it look like the walls meet at a different angle than the typical 90 degrees. That's not necessarily a bad thing, but if you wanted the house to be a square/rectangle shape than it would need to recede at a sharper angle upward. I actually think it's fun that it looks like a ramp going up.
I think the biggest improvement you could make though, would be to push the perspective of the tree so you see it meeting the ground plane. Just my opinion.
Here is the drawing broken down in simple perspective, notice how the house vanishes to those to points on the horizon. Even the mat and the floor boards recede to the same point. But again, you can totally break perspective rules for effect.
I think you've got a nice little illustration in the works! Love the expression of the bird. :)
Hope you don't mind that I did a quick paint over. I thought that you could add a little more contrast with value and color. I would also suggest rendering the elephant and dog in the same way. Right now the elephant has linework and the dog doesn't I would think about keeping them consistent.
My phone makes my artwork darker as well. As far as what courses I would recommend here on SVS for lighting, the light and shadow course is a good one to start out with.
Well, to be honest, my house is a lot messier, my meals are more simple, and I go to bed later than I probably should since coming back to art. I put on a movie or show for my 5 year old during my 1 year old's nap time. I send my 5 year old out to play a lot, and when her friends are over, that also distracts my 1 year old enough where I can do some studies. I've been doing a lot of studies or doodles that I can just drop easily if I need to and it's not a big deal if I lose focus over it. I've also done a lot of brainstorming and thumbnailing for paintings, that I'll paint when I have the time. When I do take time to paint more intensely, I listen to art videos or svs courses, and I've picked up a lot of gems from doing that.
Take my comments and suggestions with a grain of salt, because I'm no pro, but here are my thoughts.
I think with your current level, you could get professional work in certain markets. You have definitely created a cohesive style, and that is something great to have.I can see you fitting right in to llewellyn publishing, for example.
I do see some areas where you could improve, take your work to a new level, and potentially open yourself up to a broader market. Here are some of my ideas in no particular order.
Your drawing skills are very strong, but I feel something gets lost when you transition to your painting. Some of your transitions could be softened, for example. I also feel that you know how to structure drawings so there are good focal points, and areas of rest, but in your paintings, it is super detailed all over and there are many things competing for attention visually. I feel if you can allow for some areas of rest, let go of some of the details in certain areas, your paintings would improve. I highly, highly recommend the creative composition class here on SVS to help you with some of these issues.
Your female faces lean toward the masculine side, and most of your faces have similar proportions, with high-set, close-set eyes. I think doing some master studies might help you to have more appealing feminine faces.
I would seek out a mentorship with a pro artist you admire to really set you on a good course to where to go from here, and how to tweak or add to your portfolio. They can be expensive, but I think the long term benefits are worth it. Pete Mohrbacher might be a good place to start.
I don't know what you do to make money from your art, but I would consider doing cons, renaissance fairs, and art festivals. I would also consider opening an instagram account. I think you have the potential for a large following, especially with your creature drawings. If you can gain a following, I would also consider making a coloring book or a book of sketches to possibly self publish.
Consider doing more spot illustrations, that are paintings, but do not include the whole background.
Anyway, hope that was helpful to some degree. Good luck! You have some really great stuff.
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